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WHAT YOUR HAND REVEALS 




* 






































WHAT YOUR HAND 
REVEALS 


BY 

HENRI REM 

n 


Translated from the French 


With 253 Illustrations 



NEW YORK 

E. P. DUTTON & CO. 

681 FIFTH AVENUE 





Copyright, 1922 

by 

E. P. DUTTON & COMPANY 

All Right» Reserved 




Printed in the United States of America 


- SPR. 184922 

0CIA681811 



CONTENTS 


CHAPTER PAGE 

I. CHIROLOGY. I 

i. Chiromancy and Chirognomy. i 

ii. Doing Away with the Occult in Chirology_ 3 

iii. Chirology is a Science. 3 

iv. The Aim of Chirology. 5 

II. The Appearance of the Hand . 6 

i. The Make-Up of the Hand. 6 

ii. What the Appearance of the Hand Reveals_ 7 

iii. The Skin of the Hand. 8 

iv. The Hair. 9 

v. The Color of the Hands. 10 

vi. The Nails. 11 

Short Nails. 14 

Employees and Officials with Short Nails.... 16 

vii. The Wrist. 17 

III. The Palm of the Hand. 20 

i. The Palm. 20 

ii. Temperature of the Palm. 21 

iii. The Fleshy Palm. 22 

iv. The Lean Palm. 23 

v. The Massive Palm. 23 

vi. The Hard, the Soft and the Supple Palm. 23 

vii. The Hollow Palm. 24 

viii. The Broad Palm. 25 

ix. The Long Palm. 25 

x. The Medium-Sized Palm. 26 

xi. The Small Palm. 26 

xii. The Overly Puny, Narrow and Thin Palm. 26 

xiii. The Lineless Palm. 26 

xiv. The Level Palm. 27 

xv. The “Ruffled” Palm. 27 


v 






























VI 


CONTENTS 


CHAPTER p AGE 

IV. The Fingers. 28 


i. Fingers and Phalanxes. 

ii. Shape of the Fingers. 

iii. The Thumb. 

Divisions of the Thumb. 

First Phalanx. 

The Second Phalanx. 

The Third Phalanx. 

Relations of the Phalanxes among Them¬ 
selves. 

Short Thumbs. 

Long and Very Long Thumbs. 

The Thumbs in the Home. 

The Thumb and Servants. 

Slight, Narrow and Thick Thumbs. 

The Digital Imprints. 

The Movements of the Thumb. 

iv. The Index Finger. 

Pointed. 

Square. 

Spatulate. 

Straight. 

Short. 

Long. 

Very Long. 

Supple. 

Stiff. 

Smooth... 

Knotted. 

Thick. 

Flattened. 

The Hippocrepian Finger. 

Solomon’s Ring. 

Phalanxes of the Index Finger. 

v. The Medial Finger.. 

Pointed. 

Conic. 

Square. 

Spatulate.\ 


28 

30 

31 

33 

34 
38 

38 

39 

42 

43 

44 

45 

46 

46 

47 
52 
52 

52 

53 
53 
S3 
53 

53 

54 
54 
54 
54 
54 

54 

55 
55 
55 
57 

57 

58 
58 
58 








































CONTENTS vii 

CHAPTER PAGE 

Short. 58 

Long. 58 

Supple. 59 

Stiff. 59 

Smooth. 59 

Knotted. 59 

Thick. 59 

Spare. 59 

Phalanxes of the Medial Finger. 59 

vi. The Annular Finger. 60 

Sympathetic Relation between the Annular 

Finger and the Heart. 61 

Pointed. 62 

Conic. 62 

Square. 62 

Spatulate. 62 

Short. 63 

Long. 63 

Supple. 63 

Stiff. 63 

Smooth. 63 

Knotted. 63 

Spare. 64 

The Badly Shaped, Distorted Annular Finger. 64 
Phalanxes of the Annular Finger. 64 

vii. The Little Finger. 65 

Pointed. 65 

Conic. 65 

Square. 66 

Spatulate. 66 

The Movement of the Little Finger. 66 

Short. 66 

Very Short. 66 

Long. 67 

Very Long. 67 

Supple. 67 

Stiff. 67 

Smooth. 67 

Knotted.,. 67 







































Vlll 


CONTENTS 


CHAPTER ****** 

Spare. 6 7 

The Twisted or Misshapen Little Finger. 68 

The Little Finger Bending Inward. 68 

Phalanxes of the Little Finger. 68 

The Little Finger with Two Phalanxes. 69 

viii. Length and Thickness of the Fingers. 70 

Long Fingers. 7° 

Short Fingers. 7 2 

Medium-Length Fingers. 73 

Large Fingers: Fat Fingers.—. 74 

Slight Fingers: Thin Fingers. 74 

ix. Smooth Fingers. 74 

x. Knotted Hands. 75 

The Knots and Their Influence. 75 

The ‘‘ Philosopher’s Knot ”. 77 

The Material Knot. 78 

The “Philosopher’s” and the Material Knot. 79 

xi. Interrelation of the Fingers. 79 

The Spacing of the Fingers. 80 

Tendencies of the Fingers. 80 

Regarding Fingers Projecting and Drawn 

Back. 81 

Regarding the Length of the Fingers as Com¬ 
pared with Each Other. 82 

xii. Sense of Touch—The Drop of Water. 82 

V. A General Observation Regarding Individual 

Interpretations . 84 

VI. The Hands . 86 

i. The Tendencies Peculiar to Each Type of Hand. 86 

ii. The Pointed Hand. 87 

The Idle, Voluptuous and Pleasure-Loving 

Hand. 90 

Disposition of the Pointed Hand. 91 

The Smooth, Pointed Hand. 91 

The Pointed Hand with “Philosopher’s Knot ” 91 
The Pointed Hand with the “Philosopher’s” 

and the Material Knot. 92 

A List of Names of Famous “Pointed Hands” 92 































CONTENTS 


IX 


CHAPTER PAGE 

iii. The Square Hand. 93 

Disposition of the Square Hand. 96 

The Smooth, Square Hand. 96 

The Square Hand with the “Philosopher’s” 

Knot. 97 

Square Hands with the “Philosopher’s” and 

the Material Knot. 97 

Some Famous “Square Hands”. 98 

iv. The Conic Hand. 98 

Disposition of the Conic Hand. 100 

Some Famous “Conic Hands”. 101 

v. The Spatulate Hand. 101 

Disposition of the Spatulate Hand. 105 

The Hard and Smooth Spatulate Hand. 105 

Soft, Spatulate Hand. 106 

The Spatulate Hand with the “Philosopher’s” 

Knot. 107 

The Hard Spatulate Hand with the “Philos¬ 
opher’s” and the Material Knot. 108 

Some Famous ‘‘ Spatulate Hands ”. 108 

vi. The Mixed Hand. 108 

vii. The Elementary Hand. 109 

VII. The Mounts. 112 

i. General Observations on the Mounts. 112 

ii. The Mount of Jupiter or of the Index Finger,. 116 

On the Mount of Jupiter. 117 

iii. The Mount of Saturn or of the Medial Finger.. 119 

On the Mount of Saturn. 120 

iv. The Mount of the Sun (Apollo) or of the Annular 

Finger. 121 

On the Mount of the Sun. 122 

v. The Mount of Mercury or of the Auricular Finger 123 

On the Mount of Mercury. 125 

vi. The Mount of Mars. 126 

On the Mount of Mars. 127 

vii. The Plain of Mars. 127 

viii. The Mount of the Moon. 129 

On the Mount of the Moon. 131 

ix. The Mount of Venus or of the Thumb. 133 

On the Mount of Venus. 136 


































X 


CONTENTS 


CHAPTER PAGE 

VIII. The Lines of the Hand . 140 

i. The Lines, the Sentient Section of Chirology.. 140 

ii. When and How the Lines are Formed. 140 

iii. The Modification of Lines and Signs. 142 

iv. Disappearance of the Lines. 143 

v. The Network System of the Lines. 144 

vi. Sister Lines. 146 

vii. Color of the Lines. 146 

viii. Appearance of the Lines. 147 

ix. The Serene Hand—Few Lines. 148 

x. The Agitated, Troubled Hand, Covered with 

Lines. 149 

xi. The Difference in Meaning between the Right 

and the Left Hand. 151 

xii. Accidental Signs. 153 

IX. The Line of Life . 157 

i. The Line of Life Divided to Indicate Age and 

The Time of Events. 157 

ii. The Phases of Life. 159 

At Which Age is a Man Old?. 162 

iii. The Line of Life in its Various Aspects. 162 

The Perfect Line. 163 

The Pale Line. 163 

The Broad Line. 163 

The Red Line. 164 

The Deep Line. 164 

The Long, Fine Line. 164 

The * ‘ Chain ’ ’ Line. 164 

The Line Broken at Birth. 165 

The Unequal Line. 165 

The Twisted Line. 165 

The Badly-Drawn Line. 166 

The Line Broken by Spaces. 166 

Wrinkles. j66 

The Double Life-Line. 166 

The Lines of Life, of the Head and of Health. 168 
Reunion or Departure of the Principal Lines. 168 

The Short Life-Line. 169 

In Two Fragments. jj 0 


































CONTENTS 


XI 


CHAPTER PAGE 

Lines and Branches Leaving the Life-Line.. 171 

Bifurcated Toward the Lower End. 173 

The Period of Decline in Man. 173 

The Pear. 175 

Dots. 175 

Crosses. 175 

Stars. 176 

Circles and Rings. 176 

Islands. 176 

The Change of Life in Women. 176 

Forking Branches. 177 

Lines of Personal Merit. 177 

The Line of Union between Venus and 

Mercury. 178 

Lines and Branches Crossing the Life-Line... 178 

Loss of Fortune in Infancy. 178 

Worry Lines—Loss of Position and Fortune.. 178 

Illness as a Result of Worry. 179 

Worry Lines Cutting the Saturnian Line.... 179 

Worry Line Cutting the Line of the Sim. 179 

Worry Line Ending in the Line of the Head.. 180 
Lines of Litigation. 180 

X. The Line of the Head. 182 

i. Division of the Head-Line to Indicate Age and 

the Time of Occurrence of Events. 183 

ii. The Head-Line Regarded from Various Points 

of View. 184 

The Perfect Head-line. 184 

The Very Long Head-line, Crossing the Hand 

Horizontally. 185 

The Head-line Divided into Two Branches at 

its Extremity. 186 

The Head-line Descending on the Mount of 

the Moon. 188 

The Double Head-line. 189 

The Head-line Joined to the Life-line at the 

Beginning of the Latter. 189 

The Head-line Separated from the Life-line 
at the Starting-point of the Latter. 192 




























Xll 


CONTENTS 


CHAPTER 

The Distinctly Separated Head-line at the 

Beginning of the Life-line. 194 

The Head-line Long in Leaving the Life-line. 194 
The Head-line Commencing without Touch¬ 
ing the Life-line. 194 

The Head-line Beginning Below the Medial 

Finger. *95 

The Head-line Ending Below the Medial 

Finger. *95 

The Head-line Ending Beneath the Annular 

Finger. 195 

A Head-line Cut at the Start. 196 

The Head-line Formed of Small Fragments.. 196 

The Deeply-furrowed Head-line. 196 

The Scarcely Marked Head-line. 197 

Color. 197 

The Curved and Ascending Head-line. 197 

The Twisted Head-line. 197 

The Poorly Shaped, Indistinct Head-line, 

Crossed with Small Lines. 197 

The Head-line Broken in Two. 198 

The Head-line in Two Superimposed Pieces, 

Below the Medial Finger. 198 

The Head-line Inclined Toward the Life-line. 198 
The Head-line Inclined Toward the Heart¬ 
line. 199 

The Head-line Joining the Heart-line. 199 

A Branch Pointing Toward the Heart-line... 199 
A Branch Pointing Toward the Index Finger. 199 

An Island. 200 

Dots. 200 

Circles and Half-circles. 200 

Crosses. 201 

Stars. 201 

XI. The Line of the Heart. 203 

i. The Heart-line in Woman and in Man. 203 

ii. The Division of the Heart-line to Indicate Age 

and the Time of Occurrence of Events.... 206 

























CONTENTS 


Xlll 


CHAPTER 

iii. 


PAGE 

The Heart-line Regarded from Various Points. 206 

The Perfect Line. 206 

The Heart-line Crossing the Hand, with or 

without Branches. 208 

The Large, Pale Heart-line. 211 

The Red Heart-line. 211 

The Slight, Delicate and Narrow Heart-line. 211 

The Long Heart-line. 211 

The Hollow Heart-line. 212 

The Double Heart-line. 212 

The Long Heart-line with Furrowed Mount 

of the Moon. 213 

The Heart-line Beginning Below the Index 

Finger. 213 

The Heart-line Beginning on the Mount of j 

Jupiter. 213 

The Heart-line Beginning at the Root of the 

Index Finger. 213 

The Heart-line Beginning between the Index 

and the Medial Fingers. 214 

The Heart-line Beginning Beneath the Medial 

Finger. 214 

The Heart-line Beginning Beneath the Annu-J^ 

lar Finger. 214 

The Heart-line Ending Beneath the Medial 

Finger. 215 

The Heart-line Ending Beneath the Annular 

Finger. 215 

The Heart-line Ending Beneath the Auricular 

Finger. 215 

The Heart-line Stooping Toward the Head¬ 
line without Touching the Latter. 215 

The Heart-line Joining the Head-line Beneath 

the Medial Finger. 216 

The Heart-line Joined to the Head-line. 216 

The Heart-line in Chains. 217 

The Twisted Heart-line. 217 

The Broken Heart-line. 218 

The Cut and Crossed Heart-line. 218 

The Heart-line Divided into Two Branches.. 218 


























XIV 


CONTENTS 


CHAPTER * AWS * 

Branches. 2I 9 

The Furrow Moving Toward the Mount of 

Mercury. 2 20 

The Line from the Mount of the Moon to the 

Heart-line. 220 

The Island... 2 20 

The Hole or Pit. 220 

Dots. 221 

XII. The Line of Direction or of Fate . 222 

i. Fate or Destiny. 222 

ii. Observations Regarding the Fluctuation of the 

Line of Direction or of Fate. 224 

iii. Division of the Line of Direction or of Fate to 

Indicate Age and Time of Occurrence of 
Events. 227 

iv. The Line of Direction or of Fate Regarded from 

Various Points of View. 227 

The Long, Delicate Line. 227 

The Deep Line. 227 

The Clear, Straight Line. 227 

The Very Irregular Line. 228 

Small Lines Doubling the Line of Direction.. 228 

Double Lines. 228 

The Fate-line Made Up of Small Lines. 228 

The Broken, Cut and Relinked Fate-line. ... 229 

The Fate-line with Branches. 229 

The Fate-line Beginning Near the Bracelet.. 229 
The Fate-line Beginning on the Line of Life.. 231 
The Fate-line Beginning on the Mount of 

Mars. 231 

The Fate-line Beginning in the Plain of Mars. 232 
The Fate-line Beginning on the Mount of the 

Moon....,. 233 

The Fate-line Beginning on the Mounts of 

Venus and the Moon. 234 

The Fate-line Stopping at the Head-line. 235 

The Fate-line Stopping at the Heart-line. ... 235 
The Fate-line Ending on the Mount of 
Saturn. 235 

























CONTENTS 


XV 

CHAPTER PAGE 

The Fate-line Ending in Small Branches. 236 

The Fate-line Cut on the Mount of Saturn... 236 

The Square on the Mount of Saturn. 236 

The Fate-line Starting on the Medial Finger. 236 
The Fate-line Turning Toward the Mount of 

Jupiter. 237 

Dots. 238 

Crosses. 238 

Stars. 238 

Islands. 239 

XIII. The Line or the Sun. 241 

i. The Sun-line Divided to Indicate Age and the 

Time of Occurrence of Events. 242 

ii. The Line of the Sim Regarded from Various 

Points of View. 244 

The Sun-line Starting at the Heart-line.244 

The Line of the Sun Starting from the Head¬ 
line. 245 

The Line of the Sun Starting at the Line of 

Intuition. 246 

The Line of the Sun Leaving the Line of 

Direction. 246 

The Line of the Sun Starting from the Mount 

of Venus or the Line of Life. 247 

The Line of the Sun Starting from the Mount 

of the Moon. 249 

The Line of the Sun Starting from the Plain 

of Mars. 249 

The Line of the Sun Running from Mars to 

the Sun. 251 

Two or Three Lines of the Sun. 254 

The Marvelous Trident. 255 

The Line of the Sun Turning Toward the 

Mount of Mercury. 256 

The Line of the Sun Turning Toward the 

Mount of Saturn. 256 

The Line of Union between Art and Science.. 256 
The Line of the Sun Barred but not Cut.... 257 
Lines Crossing the Line of the Sun. 257 

























XVI 


CONTENTS 


CHAPTER PAGE 

Twisted Lines. 258 

Bad Lines of the Sun. 258 

The Starred or Disordered Line of the Sun. . 259 

iii. Regarding the Compensation of the Lines of 

the Sun and of Direction. 259 

iv. Relation between the Line of the Sun and the 

Line of Direction.*. 260 

XIV. i. The Line of Intuition. 262 

ii. The Hepatic Line or Line of Health. 264 

XV. 1 . The Girdle of Venus. 266 

ii. The Via Lasciva or Line of Lasciviousness. 270 

XVI. i. The Quadrangle. 271 

ii. The Great Triangle. 273 

iii. The Small Triangle. 275 

XVII. Accidental Signs . 277 

i. Stars. 277 

ii. Crosses. 281 

iii. Dots or Points and Holes. 286 

iv. Islands. 288 

v. Triangles. 290 

vi. Grilles. 291 

Epilogue. 292 





















WHAT YOUR HAND REVEALS 










WHAT YOUR HAND REVEALS 


CHAPTER I 
CHIROLOGY 

“Some day chiromancy will be the grammar of man’s social 
organization.” —Dumas Fils. 

§ i. Chiromancy and Chirognomy 

Chirology is the science of the hand: an experimental 
science based on observation and computation, whose aim 
is the interpretation and explanation of the lines and 
mounts of the palm and fingers, and of the exterior shape 
of the hand. 

Chirology is not an occult science: there is nothing 
supernatural, magical or diabolic about it: it has no mys¬ 
teries. It is not a branch of the art of divination, for 
everybody may study and understand it, and once under¬ 
stood, it is possible to read and translate its signs, just 
as one may read and translate a page of Greek, Arabic 
or Chinese, if one has learned the languages in question. 

Hence, in order to become a chirologist, it is not nec¬ 
essary to be a soothsayer, a medium or a spiritist. It is 
needless to pretend to second sight, to act like a visionary, 
a prophet or one inspired. It is unnecessary, even, to be 
an enthusiast or a “subject.” All these tricks, these 
puffs, should be left to street fakers and fortune¬ 
tellers, and to those among our modern pythonesses whose 
only object is to trouble the intelligence in order to exploit 
public credulity with greater ease. 


2 


WHAT YOUR HAND REVEALS 


Chirology comprises: 

1. Chiromancy, which may be traced back to earliest 
antiquity, and which is devoted, in particular, to the study 
and interpretation of the signs, the lines and the mounts 
of the hand. 

The chiromantic signs are the stars, the crosses, the 
squares, the triangles, the points, etc., etc.; also the 
mounts or elevations found at the base of the fingers, 
and at the joints, and the network of lines found on 
the interior of the hand, on the surface of the palm. 

The palmar surface or palm of the hand is its positive 
side, the dwelling-place of tact and nervous sensibility, 
of the nerve-centres which enclose the Pacinian cor¬ 
puscles. These corpuscles, which are found in the palm, 
in the little mounds and at the tips of the fingers, to the 
number of 250 or 300, are clusters of condenser-nerves, 
which make the hand sensitive beyond measure. 

2. Chirognomy, which was discovered by Captain 
d’Arpentigny, concerns itself only with the study and 
interpretation of the shape of the fingers and the ex¬ 
terior of the hand. 


The chirognomic signs, that is to say the visible, ex¬ 
ternal shapes of the hand, are transmitted to us by 
heredity: they represent the negative side, and are devoid 
of nervous sensibility, since they do not possess a single 
Pacinian corpuscle. 


Chirognomy will always prove its deductions in the 
case of those who act by instinct, by intuition, and those 
whose material existence is purely vegetative. Yet its 
findings rarely apply to more sensitive natures whose 
numerous lines tend to modify the chirognomic prog¬ 
nostics. . For this reason, a knowledge of both these 
systems is indispensable, since one completes the other, 
in order to form the science of chirology. 



CHIROLOGY 3 

§ ii. Doing Away zvith the Occult in Chirology 

All those exact sciences of the present day, in which 
we take so much pride, are the daughters or sisters of 
the sciences of the past: the astrologers have turned into 
astronomers; the alchemists have become chemists, the 
men of various “arts” are now physicians, the chiro¬ 
mancers, chirologers. 

We should like to let the following truth sink in: 
chirology—as we have already said, and shall continue 
to maintain—is no more an occult science than astronomy 
or chemistry, and has nothing whatever in common with 
astrology. 

In consequence, we will leave astrology to the as¬ 
trologers, and devote our whole attention to chirology 
proper. We will put it through a process of disoccult- 
ization, rejuvenate, modernize and make it generally 
clearer and more comprehensible, by stripping and de¬ 
spoiling it of its superstitions, its errors and all the 
fatalistic rubbish of ancient chiromancy. We will rid 
it of all its superannuated terms, of the symbolic phrases 
which hark back to antiquity and tradition, and which 
aimed to create an atmosphere of the mysterious and 
supernatural. This mysticism, and this striving for 
stage effect have no reason for being, particularly in an 
age when chirology has become a science. 

§ iii. Chirology Is a Science 

“Experience is the foundation of all knowledge.”— Locke. 

We will present a summary exposition of the scientific 
means which we use as a basis for our system of chi¬ 
rology, and thus prove that chirology is actually a science, 
in every sense of the word, since it is established on 
scientific principles. 


4 WHAT YOUR HAND REVEALS 

Science, according to the scientists, is a coordinate 
body of exact observations and accurate facts, all re¬ 
lating to some one main object. These observations are 
interconnected by means of a general theory, which 
should take into consideration all the phenomena ob¬ 
served, and explain them all. 

“Scientific research/’ says L. Brentano, “has but one 
aim: to know the actual. No sanctuary has a higher 
claim to its reverence than that of truth. Science must 
penetrate everywhere, must not shrink from any investi¬ 
gation, any analysis, no matter how much the investigator 
may cherish that which he must analyze. He must pub¬ 
lish the result of his examination with unsparing frank¬ 
ness, without regard for his own advantage or disad¬ 
vantage, without seeking praise or dreading blame.” 

Hence it is by means of observation, experiment, com¬ 
parison and analogy that scientific experience is acquired. 

In another range of ideas, is not comparison the very 
language of Scripture? Did not Christ Himself, in order 
to establish truth and clarity, and in order to demonstrate 
His doctrine, speak by comparison and by analogy, and 
in so doing follow the law of nature? Hence all is con¬ 
tained in all, even in lingual form. 

In order to solve the problems of chirology, the means 
to which we may have recourse, and the ways we may 
follow are none other than those which science proper 
uses in general, that is to say: first of all, experience; 
then reasoning; and finally the crystallization of the argu¬ 
ment by induction and deduction. 

There is not a single certainty which is not deduced 
from experience, and gained by experience, past or 
present. By the examination and classification of these 
facts with the aid of comparison and analogy, one is 



CHIROLOGY 


5 


able to establish a correlation of signs and facts among 
themselves, and thence draw certain conclusions, induc¬ 
tions and deductions. These are the principles, means 
of procedure, and methods of observation and experi¬ 
ment which we have utilized in order to write this treatise 
on chirology—the science of the hand. 

Since we belong to no sect or clique, and owe allegiance 
to no individual, we are absolutely independent. As a 
result, we are free to publish all our thoughts regarding 
chirology, and all that we believe to be the exact truth. 
And it would be most gratifying and agreeable to think 
that someone may have been able to profit by our labor, 
our observations and experience, and might carry on 
and develop these studies. Above all, we hope that some 
day this science, at present unduly slighted, and which 
has served to distract and amuse so many generations in 
the course of centuries, will take its proper place beside 
its sister sciences, officially recognized by the faculty, 
because of the real services it can render. All this, how¬ 
ever, be it well understood, on the premise that first its 
rules be duly established, and then scientifically taught 
and interpreted by those adjudged competent; and finally, 
and above all, that its practice be explicitly forbidden 
to such as might wish to exploit the credulity of the 
public. 

§ iv. The Aim of Chirology 

The aim of chirology is: 

1. To teach us to know ourselves. 

2. To teach us to know others. 

3. To determine the natural talents of our children. 

4. To raise a comer of the veil which hides Destiny 
and the Future. 


CHAPTER II 


THE APPEARANCE OF THE HAND 

§ i. The Make-Up of the Hand 

The hand is made up of three principal segments: 

The five fingers, articulate organs radiating from the 
palm, like the five petals of a flower, and whose specific 
names we will mention later (Fig. I). 



The palm, which is the centre in which the fingers are 
rooted, and the base of the hand itself. 

The wrist, which serves as a tie to link hand and fore¬ 
arm. 

We will now study the hand in succession from three 
points of view: 


6 





THE APPEARANCE OF THE HAND 7 

1. The external shape of the hand and the fingers. 

2. What a consideration of its interior reveals (Fig. 
II). 

3. The signs and lines found at the (Fig. Ill) points 
of contact. 

§ ii. What the Appearance of the Hand Reveals 

The mere appearance of the hand at once allows us 
to gain a general impression as to the temperament, the 
tendencies, the instincts, the ability and the moral worth 
of those who surround us, whom we visit, and whom we 
meet socially or in a business way. Nevertheless, while 
many hands at first glance seem to be similar in shape 
and appearance, some speak, and others are mute or 
irresponsive. What causes this difference? It proceeds 
from an almost indefinable kind of impression which one 
senses, yet which may only be explained by ease of ges¬ 
ture, and elegance or heaviness of conformation. 

“In semiology or semiotics, that is to say in the branch 
of medicine which treats of the signs and indications of 
maladies/’ declares Dr. A. Gilbert, “the appearance of 
the hand is often of great importance, and makes a 
diagnosis of the disease possible.” 

An elegant hand and well-formed fingers are a sign 
of distinction; highly cultivated people, as a rule, have 
plump and dimpled hands. 

An ill-shaped hand, deformed or crooked, with fingers 
more or less twisted, indicates that its possessor has a 
spirit and character as uncouth and singular as his hand. 

A hand well proportioned with regard to the other 
parts of the body is a harmonious hand, and a sign of a 
kindly spirit and well-balanced personality. 

A hand which is too short in proportion to the rest 
of the body is a sign of an evil character. 


8 WHAT YOUR HAND REVEALS 

A hand which is too long indicates that its possessor 
is adroit, rapacious, cunning, inquisitive and fanciful. 

A long, narrow and slender hand betokens an egotis¬ 
tical, authoritative and tyrannical character, with whom 
it is difficult to get along. 

A very narrow hand, in which the mount of Venus is 
cramped, betrays a matter-of-fact nature. Women with 
very narrow hands have difficulty in child-birth. 

The long, stiff, bony hand indicates bluntness and pru¬ 
dence. 

The short, slight hand belongs to persons of depraved 
tendencies, fond of money, capable of avarice, and lo¬ 
quacious. 

The short plump hand is that of a person inclined to 
see things in a big way, and not given to detail; voluptu¬ 
ous, sensual, fond of ease and comfort. 

The convex or bulging hand is a lucky hand, an indi¬ 
cation of prosperity and success, and that without much 
effort, especially with regard to money matters. 

According to an old chirologist, when hands and arms 
together are long enough to allow the former to touch 
the knees, it denotes numerous talents and great strength 
of soul. We may add that it indicates above all, vanity, 
arrogance, and the desire to rule and dominate others. 

§ iii. The Skin of the Hand 

The skin of the hand is not merely the specific seat of 
the sense of touch, it is also an organ of general sensi¬ 
bility. 

When the skin is swarthy, pallid, yet very soft, it 
denotes perfidy. 

When it is sleek, cold and impassible it is a sign of 
egoism and sensuality. 

When white and smooth, a skin dead white in color, 


THE APPEARANCE OF THE HAND 9 

which does not redden in the air, and seems insensible 
to the action of heat or cold, reveals egoism, an impene¬ 
trable soul, a heart deaf to pity and charity, and one but 
little susceptible of attachment. 

A supple, slightly wrinkled skin indicates a good dis¬ 
position, intelligence, common sense, kindliness, and 
great amenity and affability. 

A hard and wrinkled skin denotes a quarrelsome 
character, one always ready to tease and torment others, 
especially if the nails be short, small or covered with 
flesh. 


§ iv. The Hair 

In studying the hand we must not fail to glance at the 
hair and down on the hand. 

A man’s hand without hair or down, without anything 
hirsute about it, indicates an effeminate character and an 
evil nature. 

A hand hairy without and callous within, in its ap¬ 
proach to the purely animal, is the sign of a heavy, 
bestial and stupid spirit. 

Too many hairs on the hand signify instability, and 
if they are scattered and in disorder, point to an ungov¬ 
ernable soul and temperament. 

Hair on the lower part of the hand is a sign of great 
vitality; the ancients declared it to be a sign of wit. 

When hair is found, above all, on the back of the third 
finger-joints and on the second phalanx of the thumb, 
it is a sign of a good disposition and a good complexion. 

There is an axiom which declares: Vir pilosus aut lib- 
idinosus ant fortis (A hairy man is either a lover or a 
man of strength). The famous Prince of Conde was 
for a time on a footing of great intimacy with Ninon de 
Lenclos. Once when he had passed several hours in her 


IO WHAT YOUR HAND REVEALS 

society without giving her any convincing proofs of his 
love, she looked at him and seeing that he was very 
hairy, exclaimed with a species of admiration: Ah! 
Monseigneur, how strong you must be!” 

§ v. The Color of the Hands 

The color of the hands and their cutaneous phenomena 
are genuine, deserving the attention of the observer, and 
capable of giving indications with regard to character, 
temperament and health. 

If we make several persons place their hands on a 
sheet of white paper, we will notice that they have four 
different colors, compared with the paper. They will 
be white, brown shading to black, red or yellow. 

The soft white hand is a sign of a lymphatic tempera¬ 
ment, of a calm, tranquil nature, never hurried, which 
has to be driven to action. The hand should not be too 
white. It should be slightly browned, with rose tints, 
and lightly transparent veins, in which case it indicates 
kindliness, amiability, wit and good health. 

The brown or black hand—especially if it be dry— 
reveals a bilious temperament, a self-willed character, 
the ambitious man and domineering spirit who likes to 
command and be obeyed without discussion. 

The red hand denotes a sanguine disposition, an opti¬ 
mistic character, great activity and devotion; but un¬ 
fortunately, an empty head as well. Where the hands 
are too red, nearly violet in color, it is an indication of 
ill health and great indolence. 

Many people, women in particular, lament because 
their hands are too red, and seek remedies to counteract 
nature. Are there such remedies to be found? Dealers 
in chemical products and specialties say yes; but hygien¬ 
ists, almost without exception, deny it. At best it is only 


THE APPEARANCE OF THE HAND n 


possible to secure an attenuating effect, by rubbing the 
hands at night with glycerine, and renewing the pro¬ 
cedure from time to time. 

A yellow hand denotes a nervous temperament, a very 
impressionable character, with a tendency toward pes¬ 
simism and discouragement; yet artistic in the highest 
degree. Should the hand be a dark yellow, nearly 
citron green, it is a sign of rage, of outbursts of passion 
and malice. 


§ vi. The Nails 

“One can tell the lion by his nails.” 

The nails, these natural jewels of the hand, which may 
be compared to the petals of a rosebud, also supply in¬ 
dications which are not without importance. “When we 
consider,” remarks Balzac, “that the line where the flesh 
ends and the nail begins encloses the inexplicable and 
invisible mystery of the continuous transformation of 
our fluid content into horn, we must admit that nothing 
is impossible in the marvelous modifications of human 
matter.” 

Hence the nails would represent the vital fluids solidi¬ 
fied by contact with the air and its intermediaries be¬ 
tween fluid and flesh. Half-breeds, in fact, retain 
through several generations the distinctive sign of race 
at the nails, which clearly demonstrates the communica¬ 
tion of fluids. 

Soft nails indicate weakness, lack of will power. 

Brittle nails, even though they may be hard, indicate 
feeble health. 

Strong nails presage good health, even in the case of 
an organism which is not very strong. 

Hard nails are a sign of physical vigor. Hard and 
curved back, they reveal ambition and malice. 


12 WHAT YOUR HAND REVEALS 

Pointed nails betray imagination, indolence, untruth¬ 
fulness, and a love for beauty and the arts. 

Sharply pointed and recurving nails, with rather nar¬ 
row fingers, are a sign of malice, passion and weak lungs. 

Conical nails indicate appreciation of beauty, goodness 
and truth. 

Large flat nails, somewhat curved back at the top, 
show a tendency toward cunning and dissimulation. 

Twisted and obtuse nails indicate independence and 
rapacity. 

Rosy nails are a sign of constancy and firmness. 

Nails that are round, pale and grey are the sign of a 
person dangerous in every way, against whom one should 
be on guard. 

“The slaty discoloration of the nails, common in cases 
of malaria,” says Dr. Buisson, “appears before the be¬ 
ginning of the chill, is accentuated while it is in progress, 
and reaches its maximum in the middle of the period 
of fever, to decrease progressively and disappear as the 
stadium of perspiration draws near. This sign allows 
us to diagnose the larval forms of palustral infection, 
and also enables us to recognize the malarial nature of 
certain febrile affections occurring among subjects pa- 
lustrally infected/’ 

Red nails indicate that a person is nervous, irritated 
by trifles, continually harassed, at times melancholy, in¬ 
clined to tease, especially if his fingers be spatulate, that 
he is sensual, and at times even vicious. 

Short nails imbedded in flesh indicate excessive sensu¬ 
ality, especially if combined with the sign of Venus. 

White marks on the nails are usually a sign of good 
luck; they reveal, however, a nervous, impressionable 
personality, subject to neuralgia. 

Black or colored marks on the nails are ill omens. 


THE APPEARANCE OF THE HAND 13 

Naturally, signs, points, rays and deformations follow 
the growth of the nail. Each nail takes about six months 
to grow from root to tip. Hence, when a sign begins 
to appear and grow near the root, it does not achieve its 
full growth until approximately six months have passed, 
during which time it will have its effect, for good or for 
ill, unless prevented by other signs. 

The white portion of the nail, near the root, indicates 
what will take place during one-third of the time of the 
period of growth. It shows the future. 

The middle of the nail shows the present. 

The end of the nail, the terminal upper third, shows 
the past. 

Well-polished, glossy nails are a sign of good health 
and a satisfying physical condition. 

When the nail of the little finger is defective and badly 
constructed, it shows that the intestines are in a bad 
condition. 

Malformation of the stripes or rays of the annular 
finger indicate a cardiac weakness, a more or less serious 
or menacing affection of the heart. 

“The ‘drinking-glass nail’,” according to Dr. P. Marie, 
“is a malformation of the nail differing from that char¬ 
acterizing the hippocrepitan (having the form of a horse¬ 
shoe) finger; there is an enlargement of the nail which 
overruns laterally the soft parts which normally confine 
it; in addition this nail is notably thin and soft in texture. 
This malformation appears in direct connection with 
broncho-pulmonary suppuration, and forms the initial 
degree of the process which ends in hypertrophic pneu- 
monial osteoarthropathy. ,, 

The longitudinal grooves of the nails, according to 
the fingers where it is more decisively traced, indicates 
a superabundance of fluid, and great nervous intuition, 


i 4 WHAT YOUR HAND REVEALS 

resulting from the continual exercise of the faculty in- 
dicated by the finger. 

The thumb-nail grows very hollow across its breadth 
at the moment of serious illness; and develops a species 
of furrow easily perceptible to the touch. The place on 
the nail where the last furrow occurs gives the approxi¬ 
mate date of the illness. 

A grooved thumb-nail with longitudinal rays is the 
sign of a profusion of the fluid which rouses the powers 
of the thumb: will-power, energy, logic, reason, and 
which might bring a cerebral affection to a more or less 
distant conclusion if, at the corresponding period of life, 
the head line shows an island. 

Long nails indicate timidity, reserve, impenetrability, 
a fondness for hobbies, and love of detail. 


Short Nails 

Persons with short nails are intensely fond of argu¬ 
ment and contradiction; they are combatative, have a 
critical and carping disposition, and take especial delight 
in irony, that terrible weapon which first pricks, like the 
picador and finally slays, like the matador , for one may 
recover from a sword-stroke but not from a blow of the 
tongue, in accordance with La Rochefoucauld’s maxim: 
“Ridicule dishonors more than dishonor.” 

Short-nailed persons are fond of chicanery, they like 
legal processes and are natural-born plaintiffs, advocates, 
attorneys, purveyors and pleaders, especially with the 
sign of Mars. 

When found in conjunction with a soft, and indolent 
hand, short nails, in spite of their love for strife, con¬ 
tradiction and battle, indicate that their possessor is con- 



THE APPEARANCE OF THE HAND 15 

tent to struggle calmly and tranquilly, to tease and criti¬ 
cize, always ironically. 

Short nails are always the sign of a critical spirit. 
Under the sign of Mars their owners deliver battle; under 
that of Venus they are mockingly good-humored; when 
Mercury is strongly developed they are given to jealous 
ill-will, and are then far more prone to see the defective 
sides of a person or thing than their more favorable or 
advantageous aspects. 

Spatulate fingers with short nails are the sign of a 
domineering, independent, teasing and contradictory 
spirit: their possessors always differ from others; they 
are detractors when praise is bestowed, and praise where 
others blame, often heedless of the fact that they are 
contradicting themselves. 

“Short nails which appear to be bitten, or are bitten/* 
says Desbarolles, “show the critical faculty, and the 
spirit of control. Those who have them, while criticizing 
others, also criticize themselves severely. Short-nailed 
persons have the peculiarity of showing a need for action 
and control which finds expression in the interior of 
their homes. Hence this form of nail may be found on 
persons who like to occupy themselves with the manage¬ 
ment of their households, the superintendence of their 
servants, which they carry out with a certain degree of 
strictness. They also like to arrange everything, and put 
everything in order in their apartments, their own room 
in particular, without the help of others. A servant 
annoys them, they rearrange and often dust after him. 
In general, they try to keep in touch with all that is 
going on, and when the palm of their hand is hard, con¬ 
trol everything and, as far as possible, do everything 
themselves.” 


16 WHAT YOUR HAND REVEALS 


Employees and Officials with Short Nails 

As Dr. Toulouse has very judiciously written: “Physi- : 
ognomy, ‘the head/ plays an important part in social ac¬ 
tivities. There are ungrateful faces which discredit their 
owners/' 

“An engaging physical exterior is much sought after 
in certain administrative circles, which desire to awaken 
entire confidence in their clients.” 

“Thus, in choosing those who are to hold certain posi¬ 
tions—inferior ones in particular—where the individual 
in question is to inspire confidence and make an agree¬ 
able impression, the features are an important fac¬ 
tor. . . .'' 

Such a distinguished psychologist as Dr. Marie (Dr. 
Toulouse) might have added that if “the head” is an im¬ 
portant factor, social character is one no less appreciable. 

In studying the qualities and defects of those who have 
short nails, be it in executive offices, or in the shops, are 
these signs known or regarded in either ? Unfortunately, 
this is not the case. Hence it is possible to verify a 
constant state of friction between employees and the 
public. 

Short-nailed officials and employees are agents of the 
very first rank, and capable of rendering the most valu¬ 
able services; but only on condition that they are in the 
right place. In the cashier's bureau, in the comptroller's 
office, in positions of superintendence in general, even in 
administrative positions, they are absolutely in their; 
proper place, and make model employees and officials. 

But one should avoid above all else placing them in 
direct contact with the public, either behind the cash- 
desk of a store, or the wicket of an administrative de¬ 
partment; for then clients have to suffer, and there is* 



THE APPEARANCE OF THE HAND 17 

ceaseless friction, especially in governmental bureaus, 
where the short-nailed official, with his curt manner, and 
quarrelsome and fault-finding disposition, takes a ma¬ 
licious pleasure in irritating and enervating the public 
by reason of his critical and contradictory spirit. How 
many times have we witnessed such occurrences, where 
the “short-nails,” without rhyme nor reason, but 
prompted purely by love of contradiction, and quite 
unconsciously, began to find fault before giving satis¬ 
faction. Such employees might be placed to better 
advantage in a lawyer’s office than at the wicket of an 
administrative department. 

§ vii. The Wrist 

The wrist is that portion of the arm proper which 
unites hand and forearm. At its bending-point there will 
always be found one or more lines which cut each other 
crosswise, in the direction of the joint (Fig. IV). 

These lines, or this group of lines, which forms a kind 
of double or triple ring, is known as the “bracelets.” 
To each of these lines ancient chirologists attributed a 
life-span of from twenty-five to thirty years; which, 
however, is not always exact. 

Three handsome lines, joined together, and very clearly 
marked constitute the “royal bracelet” or the “triple 
magic bracelet.” According to tradition this bracelet is 
a good omen; it foretells long life, and indicates health, 
wealth and happiness. We attach less importance to this 
sign than did the ancient chirologers; nevertheless, it is 
a good augury, especially in the case of an intelligent 
and energetic hand. 

When these bracelets are irregular, broken, and poorly 
marked they indicate difficulties, misfortunes, ill luck and 
poverty in the struggle for existence. 


18 WHAT YOUR HAND REVEALS 


When the lines of the bracelet run in chains, the first 
in particular, they announce a laborious life, yet one 
whose toil will bring success. 

Should a cross appear in the middle of the bracelet, 



it is known as its "lock,” and indicates a life of toil set 
off by a heritage, a legacy, a big prize or some unex¬ 
pected gain. Crosses on the bracelet always presage 
inheritances or benefits, advantages upon which the re¬ 
cipient has not counted. 












THE APPEARANCE OF THE HAND 19 

The lines which start from the bracelet to end in the 
mount of the moon stand for numerous voyages. 

A line leaving the bracelet, according to Balsamo, and 
ascending straight toward the index finger, announces a 
long voyage, and signifies that the owner of the hand 
will not live in his own land, and that he will end his 
days in a far country. 

When two small branches form an acute angle in the 
bracelet, they announce, according to tradition, a man 
destined to receive rich inheritances, to be honored in 
his old age; and all the more surely if a star or a cross 
appear in the angle. In addition, he will but rarely be 
subject to illness. 

According to Marie Burlen, when a cross in the 
mount of the moon tends with all its strength toward 
the arm, in the contrary direction from the thumb, it 
indicates death by shipwreck. 

Lines which start from the bracelet without touching 
it, traverse the whole hand, and rise toward the mount 
of Saturn or the mount of Apollo (mount of the sun) 
are prophetic of the most brilliant triumphs as regards 
either honors or fortune, and sometimes both. 

Circles on the bracelet are signs of maladies, and red 
dots or points have the same meaning. 


CHAPTER III 


THE PALM OF THE HAND 
§ i. The Palm 

The palm, which is that part of the hand lying be¬ 
tween the bracelet and the mounts or projections of the 
fingers, represents more particularly the animal instincts 
and those of material life. 

According to a physiologist who has given a great deal 
of attention to the structure of the human body, the 
bones of the palm, among the animals, form almost the 
entire hand; as may be seen in the case of the ape. 
Hence, we may deduce that when the palm dominates 
the fingers in human beings, it denotes a character ap¬ 
proaching animality, that is to say, one whose instincts 
are low. We must remember that since the hands, by 
reason of their tactile subtlety and delicacy of movement, 
are the tools of psychic life, the palm, in a measure, is 
the very hearth of the soul’s instinctive existence, since 
on the one hand it denotes an agglomeration of the life 
of the blood, of the activities of the blood (in proof of 
which it burns in cases of fever, consumption, and major 
irritant disorganization) and, on the other hand, it re¬ 
flects the condition of the vital nerves. This may easily 
be observed by means of interior sensation, magnetic 
radiation; for merely touching the palm in the case 
of certain individuals induces violent itching. The me¬ 
diums of communication for this instinctive vital exu¬ 
berance, aside from the mounts of the hand, are the 


20 


THE PALM OF THE HAND 


21 


larger or smaller aggregations of Pacinian corpuscles 
on the palmar nerves. Hence, the palm is full of mean¬ 
ing as regards human health. Chirology rightly claims 
that the colors white and yellow when found in the lines 
of the hand are signs of illness. Very much as earth 
which has been turned over by the spade is warm, sensi¬ 
tive, and humid, so a well-colored and tender palm is 
a sign of health and sensitiveness, while a dry and thin 
palm betokens insensibility and a churlish disposition. 

§ ii. Temperature of the Palm 

The temperature of the palm of the hand indicates the 
degree of activity of the blood, and betrays its owner’s 
state of health. Lavoisier, in 1777, was the first to 
demonstrate that animal heat had the identical cause as 
the heat thrown off by a piece of burning charcoal: that 
is to say, it is due to combustion developed in the inner 
economy of the tissues, by the absorption of oxygen 
and the release of carbonic acid. 

In a normal state of health, the average temperature 
is 37 0 centigrade (98.6° F.). When this normal tem¬ 
perature is exceeded, we say that a state of fever exists. 

A moist, burning hand is an indication of a state of 
fever, of an organic weakness, and often even indicates 
a functional lung defect. 

When the palm is habitually warm, it is an indication 
of warm-bloodedness, of vivacity, violence, outbursts of 
spirit, ardor and a leaning toward anger; yet this ardor 
comes mainly from the heart, and is not a sign of bodily 
activity. 

A cold palm usually denotes coldness in manifestations 
of the passions, and is the sign of a person outwardly 
frigid; yet not exempt from passion. The old proverb 
"Cold hands, hot loves,” is known the world over, and 


22 


WHAT YOUR HAND REVEALS 


signifies that cold hands are a sign of an amorous dis¬ 
position. This is not always the case. The line of the 
heart and the mount of Venus only can determine the 
actual state of the cardiac passions and the power of 
voluptuous tendencies. A palm habitually dry denotes 
some functional weakness of the nerves, that is to say, 
overwrought and diseased nerves; and is a sign that its 
owner is more sensible to an appeal made to the intelli¬ 
gence than to the heart. 

The palm, when accidentally humid, betrays a very 
impressionable personality, one very easily moved to 
emotion, blushing at the slightest excuse and for no 
reason at all. Yet there are also persons who do not 
blush, whose face does not change, who seem to reveal 
a soul assured and a heart unconcerned; yet whose hands 
grow moist and are covered with perspiration at the 
slightest emotional disturbance. 

Palms habitually moist indicate an extremely lymphatic 
nature “whose characteristic indications,” according to 
M. Decrespe, “are a passivity and a femininity the more 
noticeable, because often accompanied by great energy 
on specific occasions; the energy a wife exhibits in aid¬ 
ing her husband, or that a soldier shows in order to 
carry out his leader's orders; but not the energy of a 
man acting of his own volition.” 

A moist and habitually perspiring hand denotes a very 
lymphatic person, fond of idleness, affable, and lascivi¬ 
ous, with strongly accentuated sensual trends. 

§ iii. The Fleshy Palm 

The fleshy palm betrays the preponderance of material 
senusality, in all its forms, that is to say of all the ma¬ 
terial passions such as gluttony, the sensual pleasures, 
and love of comfort and physical well-being. 


THE PALM OF THE HAND 


23 


§ iv. The Lean Palm 

The lean palm is a sign of passions which are purely 
psychic: pride, jealousy, ambition, and sometimes avarice 
and cold-blooded anger. 

§ v. The Massive Palm 

The massive palm, excessively broad, thick and hard, 
and with short-nailed fingers, shows that its possessor 
is a creature mentally heavy and lacking ease, in whom 
the material instincts dominate. As regards its shape, 
it is akin to the elementary hand, and approaches the 
bestial. 

§ vi. The Hard , the Soft and the Supple Palm 

When the palm of the hand is h&rd, solid and firm, it 
denotes a vigorous temperament, one active and sturdy, 
able to support toil and fatigue. It is an indication of 
powerful vitality, of an incessant need of action, bodily 
action in particular, which impels its possessor to keep 
perpetually busy. 

The hard hand, even when not spatulate, introduces 
the element of action into everything. Its possessor likes 
travel, movement, bodily exercise, sports, hunting, auto- 
ing and aviation; excessive heat, rain and sleeping on 
the bare ground do not intimidate him. 

When the hand is too hard, it denotes a somewhat 
heavy type of intellect. 

The soft, flaccid hand, lacking resistance and spring¬ 
iness, is the sign of a weak, nonchalant, and lymphatic 
temperament, idle, effeminate and devoid of energy, 
sensitive and impressionable, disposed to give free rein 
to revery, imagination and a liking for the marvelous. 

The soft hand always shows a natural predisposition 


24 


WHAT YOUR HAND REVEALS 


to indolence; yet if the first joint of the thumb, that of 
the will, is long, this idle hand becomes an active one, 
and works without being fond of working, often harder 
than others, owing to will-power, logic and duty. 

The supple hand, neither too hard nor too soft, like a 
heavy soil, well spaded, is the happy medium between the 
hard and the soft hand. It indicates a love of comfort 
which in no wise interferes with bodily activity, an ability 
to enjoy the pleasures of repose without becoming a slave 
to idleness, and sympathy for imaginative effort. 

We will quote what d’Arpentigny has to say regarding 
the hard and the soft hand: “Two given hands are equal 
in breadth and in size, and identical in development, 
both, for instance, ending in spatulate fingers. Only, 
one of them is supple to the point of softness, the other 
firm to the point of being hard. 

“It must be understood that here we have a case of 
the temperament of each constitution, and that, although 
the intellectual tendencies of these hands will be the 
same, because of the spatulate phalanxes which call for 
movement, their abilities and morals will differ; for, 
as Fontenelle says, fundamental resemblances do not pre¬ 
clude infinite difference of detail. In the love of move¬ 
ment they have in common, the soft hand will seek to 
satisfy it by moderate action, and the hard hand by en¬ 
ergetic action. The hard hand will rise with the dawn, 
the soft hand will appreciate the delights of lying a-bed; 
and as it does in their pleasures, the physical organiza¬ 
tion will make itself felt in their professions.” 

§ vii. The Hollow Palm 

The hollow palm is an ill omen, indicating a want of 
steadfastness in struggle. It is frequently met with in 
beggars, and in the case of persons who have not been 


THE PALM OF THE HAND 


25 


successful in their undertakings, or have experienced re¬ 
verses of fortune beyond repair. 

It is very difficult to destroy the inauspicious influence 
of the hollow hand, even where there is a passable line of 
the sun and a good amount of Jupiter. The most ener¬ 
getic efforts should be made to combat this fate. The 
possessor of such a hand should seek only safe invest¬ 
ments, enter only into business engagements which are 
sure and logical, and never tempt fortune nor engage in 
adventurous enterprises or speculations, since by so doing 
he will meet with nothing but disappointments and morti¬ 
fication. A thin, hollow palm, badly joined to the hand, 
is always a sign of illness and a menace of death. 

§ viii. The Broad Palm 

A palm with considerable surface breadth denotes an 
analytical spirit, inclined to surface investigation rather 
than deeper consideration, losing itself in endless efforts 
to understand the detail of things and, in consequence, 
finding it difficult to grasp any matter or process collec¬ 
tively, as a whole. 

§ ix. The Long Palm 

The long palm, that is to say the palm of more than 
medium length, yet neither too heavy nor too massive, 
is by no means a sign of limited intelligence. This type 
of palm, on the contrary, may be met with in the hands of 
very intelligent people. It denotes, first of all, that its 
possessor’s instinct outweighs his reasoning, and further¬ 
more is the sign of a synthetic spirit, laying little stress 
on detail, only judging anything as a whole; accommoda¬ 
ting, straightforward in business, and never acting in a 
small, cheap manner. 


26 WHAT YOUR HAND REVEALS 


§ x. The Medium-Sized Palm 

The palm of medium size is a sign of a synoptic spirit, 
that is to say, of a character at once analytic and syn¬ 
thetic, which is able to take in and comprehend the com¬ 
ponent parts of a whole at a glance. 

§ xi. The Small Palm 

The small, short palm, narrow and not very heavy, 
which actually seems no more than the root prolongation 
of the fingers, is the sign not only of a person of fine, 
delicate and subtle intelligence, though slightly preoccu¬ 
pied with material things, but of a synthetic spirit which 
enables its possessor to see any matter or question as a 
whole, at a glance, without first absorbing accessory de¬ 
tails. The hands of many women have this form of palm; 
hence woman in general is more synthetic and intuitive 
than man. 

§ xii. The Overly Puny , Narrow and Thin Palm 

The palm which is too puny, narrow and thin is a sign 
of a feeble and unproductive temperament, an imagina¬ 
tion lacking warmth and power, instinctive aimlessness, 
a taste delicate rather than well grounded, and subtlety 
rather than breadth of intellect. 

§ xiii. The Lineless Palm 

The palm which is almost without lines generally in¬ 
dicates presence of mind, and above all a well-balanced 
temperament, somewhat fatalistic, which calmly awaits 
the development of events. 


27 


THE PALM OF THE HAND 

§ xiv. The Level Palm 

The level palm, without mounts, announces a lack of 
power, and a relative absence of the passions. Yet we 
must never forget that weakness is often violent, and that 
genuine strength is gentle. 

§ xv. The “Ruffled” Palm 

The “ruffled” palm, that is to say the palm broken by 
numerous lines, deep furrows and prominent mounts, is 
a sign of extremely violent passions. 


CHAPTER IV 


THE FINGERS 
§ i. Fingers and Phalanxes 

The fingers, comprising the upper part of the hand, 
from the base or mounts of the digits to their extremities, 
and which more especially disclose life and the powers 
of the intellect, are: 

i. The thumb; 2. the index finger or Jupiter’s finger; 
3. the medial finger, or finger of Saturn; 4. the annular, 
or finger of the sun; and 5. the auricular finger, or finger 
of Mercury (Fig. V). 

Each finger, when we examine it separately, has a 
significance of its own. The same hand, according to its 
form, and the dimensions of its fingers and its phalanxes, 
may show diverse and clearly marked tendencies. 

The fingers are composed of three phalanxes united by 
joints which allow them to bend in three places. 

The first phalanx, where the nail is found has been 
called “the divine.” It indicates mysticism. This first 
phalanx is regarded as an indication that it is to a divine 
end, or toward an ideal or spiritual aim that, according 
to his finger, every person will devote the powers and 
functions the finger indicates. 

The second phalanx, which composes the middle of the 
finger, since it does not in any way touch the palm of the 
hand, indicates no material instinct; what it does reveal 
is intellectual capacity for the things and functions shown 
by the finger. 


28 


THE FINGERS 


29 


The third phalanx, that which attaches the finger to the 
hand has, because it is nearest to the palm, a meaning in 
accordance with that of the palm itself: it shows first of 


Destliu) 



all, the material instinct. At the same time, it indicates 
taste, appetite and the leaning toward all that has to do 
■with bodily well-being. 






30 WHAT YOUR HAND REVEALS 

§ ii. Shape of the Fingers 

The fingers—as all of us know and may easily prove 
to ourselves—incline to four principal forms differing 
from each other: they are longer or shorter, larger or 



smaller, and their nailed extremities are pointed, square, 
conical or spatulate (Fig. VI.). 

The pointed, tapering finger, pleasant to look upon, 
terminates in spindleshape. 

The square finger ends in a square, by a straight 
cleavage. 




THE FINGERS 


3 i 


The conical finger, which has something of the pointed 
and of the square finger about it, ends in the form of a 
cone, or of a thimble. 

The spatulate finger is a finger broadening out at its 
extremity in the form of a spatula. 

All these shapes have their very important meanings, 
which we will investigate later, when we take up the 
consideration of each individual finger and of each hand 
known as pointed, square or conical. 

§ iii. The Thumb 

The thumb, from the Latin pollex , meaning “the strong 
one,” is the largest and strongest finger of the hand which 
it serves to guard. It is, to quote Montaigne, “the master 
finger,” and possesses great physiological importance, and 
it is the “opposition” finger, that is to say, so situated and 
constructed that it is always able to act in a manner 
opposed to the other fingers. It is their file-leader, it 
commands and must make itself obeyed, and if it be a 
well-balanced thumb is then their counselor, mentor and 
strategist, directing them wisely in all the strife and 
struggle of life, be they pointed, conical, square or 
spatulate. 

“Like the animals,” says Captain d’Arpentigny, “we 
have a will based on instinct, a decision due to instinct; 
yet the thumb represents only rational will, rational logic, 
rational decision.” 

“The higher animal is to be found in the hand; but man 
himself is in the thumb.” 

The thumb is man. It condenses in itself the vital 
power of our temperament; it represents the strongest 
force we have at our disposal: will power. What, in 
truth, would the hand be without the thumb? A de- 


32 WHAT YOUR HAND REVEALS 

fective, incomplete member. And what is a thumbless 
man ? A being without will power, decision or logic. 

The ancients regarded the thumb as a symbol of man 
himself. Hence the thumbs of cowards were cut off, 
from which custom is derived the word “poltroon” 
(thumb cut), pollice trunco. 

In Lacedaemon, so Montaigne tells us, the teacher pun¬ 
ished children by biting their thumbs. 

In the days of antiquity it was by raising or turning 
down the thumb that the Roman emperors during the 
games in the Circus showed their wish to spare or to 
sacrifice the vanquished. One thing which proves that 
the thumb may be called the man, is that the being with¬ 
out a normal thumb is one of life’s casualties. 

Creatures who live only by instinct, idiots for instance, 
have very short thumbs, which do not include any cor- 
puscule showing sensitiveness or tact. According to the 
famous surgeon, Dupuytren, idiots have neither outstand¬ 
ing thumbs nor fingertips, and we know that the more 
prominent these extremities are, the greater the number 
of sensitive tactile papillae or nerve-ganglions are found 
in them. 

The babe new-born who cannot as yet know anything 
of will power or reason, holds his thumb closed in his 
hand. Nursing babes fold fingers over their thumbs un¬ 
til a gleam of intelligence strikes them. Epileptics in their 
fits bend their thumbs in front of the fingers. The sick 
person suffering from a serious illness, hides his thumb 
in his hand. The paralytic who loses his faculties thrusts 
in his thumb, and the man about to die, the dying man 
whose will to live abandons him, closes his hand over his 
thumb. 

The thumb is life, is being, is man! At a first glance 
it gives us a general idea of its owner’s character, and it 


THE FINGERS 


33 

at once establishes and declares whether the person before 
us has enough reasoning will power to accomplish the 
destiny written in his hand. 

Since all our faculties, aptitudes and instincts are cap¬ 
able of being modified by the shape of the thumb, the 
thumb is the very first finger to be consulted. 

Divisions of the Thumb 
The thumb is divided into three parts (Fig. VII). 



The first phalanx, with its nail, according to its 
importance, represents more or less will power, energy, 
decision, initiative, firmness, tenacity and perseverance. 

The second phalanx in the same way, according to 
length and thickness, represents a major or minor amount 
of logic, of reasoning, good judgment, discernment or 
of common sense. 

The third phalanx, the root of the thumb or mount of 
Venus, unveils the emotional powers, love. 



34 


WHAT YOUR HAND REVEALS 


First Phalanx 

The first phalanx of the thumb is that which bears 
the nail: 

When very long it shows excess of will power, immensfe 
pirde, contempt for others, obstinacy and a dominating 
and tyrannical spirit. 

When long and strong, it indicates powerful, energetic, 
dominating strength of will, great self-confidence, and an 



extreme desire to attain to perfection in what its owner 
undertakes (Fig. VIII). 

When of medium length and size it indicates passive 
resistance, much inertia, but little wish to dominate. 

When short it means a lack of will power, decision, 
initiative, firmness, tenacity and perseverance; as well as 
lack of self-confidence, instability of temper, alternation 
of gaiety and melancholy, weakness, impatience, excita¬ 
bility, indecision. It shows a character never able to 
decide whether or not to do a certain thing, a propensity 






THE FINGERS 


35 

for letting others control it, and an inclination to adopt 
the opinions of others (Fig. X). 

“Do not rely,” says Desbarolles, “on the friendship, 
or constancy of political party loyalty of thumbs whose 
first phalanx is short. They may have fits of devotion; 
they may be capable of heroic acts; yet these would be 
momentary only. If it be necessary for them to perse¬ 
vere in their occasional sublime inspirations, they get out 
of breath; they cannot give two good pulls in succes¬ 
sion, but soon revert to their natural state of incertitude 
and indifference.” 

“The nailed phalanx of the thumb,” according to Para, 
“when it is short, does not imply a small degree of will 
power (for we find that this nailed phalanx is short in 
the case of very stubborn people), but indicates a will 
power which, in realizing its aims, will pay scant attention 
to the justice or proprieties of the thing desired, and will 
obey its feelings and passions rather than reason. 

“This short thuumb phalanx is common to all those 
sensitively organized beings in whom instinct must and 
does dominate, and not thought, and who are fated to act 
according to the suggestions of sentiment rather than 
those of reason and conviction. 

“Woman's nature has been more developed along these 
lines; since in order not to fail in her mission of protect¬ 
ing the feeble, it is more necessary for her to feel than to 
reason, and her actions must depend far more upon the 
inspiration of her heart and soul than on that of her in¬ 
telligence and thought.” 

When the phalanx is very short, it indicates lack of 
power of resistance, entirely different, a come-day, go- 
day attitude with regard to life, want of will, discourage¬ 
ment, capacity for enthusisasm, for gaiety, for causeless 
sadness, a disposition veering with every exterior influ- 


36 WHAT YOUR HAND REVEALS 

ence. It characterizes the type of person who too often 
is led about by the nose, the plaything of others, equally 
swift to adhere or to fall away from one, weeping and 
laughing at the same time, freely revealing its affairs, 
even its secrets and those of others. 

A large phalanx, though short, indicates a firm will 
power, and tenacity. 

A very large and short phalanx usually absorbs just as 
much fluid matter as a long phalanx; only, since it is 
short, and the characteristic sign of the short first phalanx 
is lack of will power, the energy supplied by the affluence 
of fluid awakens a will power of an irregular and undis¬ 
cerning type, savage in mood, extreme in its joys as in 
its griefs, and especially in its rages. This is stubborness, 
the will power of the weak. In a state of calmness this 
form of thumb inclines to melancholy. 

When the phalanx is very large, very strong, very re¬ 
sistant and, above all, bulging out at the sides, yet of 
medium size, it indicates opinionated pigheadedness, ob¬ 
stinacy and, in consequence, pride. It betrays the type 
who will not change his opinion, even in face of evidence. 
The thumb of Proudhon, the author of so many critical 
and destructive works, was one of this type. 

In consequence of what has already been said, the short 
first phalanx of the thumb, when it is large, almost round 
and shaped like a marble, always indicates—when logic 
is missing—invincible obstinacy, ferocity, rage, ira furor 
brevis est, “the rage which is a passing madness,” 
violence, blind brutality, insane fury when the possessor 
is carried away by rage. It is a sign of the'being who 
“sees red” at certain moments, the block of melenite 
which explodes at the slightest shock, the thumb “with 
an assassin’s instincts” (Fig. XI). 

The person who has a thumb of this kind is not neces- 


THE FINGERS 


37 

sarily fated to become an assassin; but he can be nothing 
less than a brute, unless all other signs contradict this 
one. This thumb also indicates a tendency to habitual 
melancholia and constant attacks of “the blues.” 

The pointed thumb—which is very rare—is the thumb 
aspiring, the thumb of the emotional poets. Alexander 
Dumas, the elder, had a pointed thumb, and Victor 
Hugo’s was slightly pointed. It indicates quick and im¬ 




pulsive decision on the part of the will and the etherial 
senses. 

When conical or rounded the thumb announces uni¬ 
versal yet not very intense ability, a fleeting will power, 
and, occasionally, a lack of practical perseverance. 

The thumb which is square, yet not excessively so—an 
uncommon form—denotes logical clarity and order, prac¬ 
tical, active and reasoning will power, which nothing can 
change, mechanical facility, and—with a good sun line, or 
line of Apollo—common sense which may lead to wealth. 




38 WHAT YOUR HAND REVEALS 


The thumb which is spatulate without being marble¬ 
shaped, shows an impulsive will which demands instant 
realization of its desires. 

The Second Phalanx 

The second phalanx of the long, strong thumb shows 
a sense of justice, cleverness in summing up, great 
strength of logic and reason, the just and true reasoning 
which, according to LaRochefoucauld, is that light of the 
soul which shows things as they are (Fig. XII). 



XII 


xm 


When depressed, even though long, this phalanx indi¬ 
cates lack of judgment, logic and reasoning, of discern¬ 
ment and common sense. 

When short, it indicates that logic and reason are weak; 
and that judgment is lacking (Fig. XIII). 

The Third Phalanx 

The third phalanx is the root of the thumb, or the 
mount of Venus. It occupies a predominant place in the 
palm of the hand, and represents the greater or lesser 





THE FINGERS 


39 


power of the senses, especially with regard to material and 
sensual love: we will consider it later, in connection with 
the study of the mounts. 

Relations of the Phalanxes Among Themselves 

As we shall see later, the lines and mounts of the hands 
may modify the indications already adduced. Neverthe¬ 
less, in accordance with these data, let us establish by in¬ 
duction some aspects of the relations of the phalanxes 
among themselves. 

When the first and second phalanx, will power and 



logic, are of equal length—a case rare enough—in a rela¬ 
tively long thumb, will power and reason are expressed 
in equal measure. They indicate a good balance between 
the moral and the physical, an equilibrium between reason 
and sentiment, intelligent and harmonious power of will 
progressing together with logic, reasoning and judgment. 
This will power may even go so far as domination, but 
without tyranny. Ferdinand de Lesseps, the great 
Frenchman who had the Suez Canal dug, had a thumb of 
this kind (Fig. XIV). 





4 o WHAT YOUR HAND REVEALS 


When the thumb, instead of being long, is of no more 
than ordinary dimensions, it implies the power of 
inertia, and a very energetic form of passive resistance. 

When the first phalanx, the will power phalanx, is long 
and thick, and the second phalanx, the logic phalanx, is 
short, an energetic, dominating will power is indicated, 
dominating in itself, but without logic, reason, judgment 
or discernment. The possessor of such a thumb goes 
blindly about his affairs. He will endeavor to act, act 



/ 

t 



XV) 


energetically even; yet without reason or guidance, he is 
bound some day or other to stumble fatally over one of 
the numerous precipices of life’s uneven road (Fig. XV). 

Inversely, when the first phalanx (will power) is short, 
and the second (logic) is long and strong, it indicates 
more logic and reason than will power, hence an inde¬ 
cisive will. It belongs to one who dare not carry out 
what reason bids him do, to a hesitant, irresolute, weak 
person, who sees clearly, knows very well what he must 
do to attain a given end; yet who, instead of following 
the road which reason points out, fumbles, waits, makes 




THE FINGERS 


4i 


a false start, halts, delays and still delays, and but rarely 
succeeds in carrying out his well-planned resolutions. He 
is a good adviser of others; but does not know how to 
profit by his own advice. He is the irresolute type 
(Fig. XVI). 'Those who are irresolute/’ Philip Gerfant 
has said, "lose half their lives; those who are energetic 
live doubly.” 

This second phalanx, when it is very strongly developed 
may, at a pinch, take the place of will power: in this case, 
it is reason which replaces and acts as will power. When 
this occurs it is necessary for reason to be everlastingly 
on guard, and life turns into a continuous struggle be¬ 
tween reason and will power. According to Para, every¬ 
one whose nail phalanx is much shorter than the second, 
is a natural-born subordinate, a constitutional one, and 
as such, is more susceptible to the appeal of sentiment 
than to that of reason, and in order to dominate such a 
nature one must first of all know how to make one’s self 
both feared and loved. 

This also shows parents how they should act with re¬ 
gard to their children, from the point of view of their 
education and the formation of their character. 

When their first phalanx is very long, they must be 
governed above all by reasoning; if, on the contrary, it 
is short, they must be held in check, and one should lead 
them along the way they are to go, by ordering them in 
gentle and kindly fashion. 

When the root of the thumb on the mount of Venus 
is pronouced, or even too strongly developed, its possessor 
will be strongly inclined toward voluptuous and sensual 
love which, however, he may control by will power if 
he has a long first phalanx. 

If the mount of Venus is predominant and the first 
phalanx short, he must inevitably succumb to the material 


WHAT YOUR HAND REVEALS 


44 

the heads of cults whose will power is immense, and in 
whom the exaggeration of will power invariably brings 
forth ambition, arrogance and despotism. 

“I have always thought/’ says Paul Bourget, “that in¬ 
equality, being one of the laws of the earth, certain men 
are born to command, and since the visible universe, al¬ 
ways and in everything takes the other for a model, these 
men bear upon their own persons the impress of their 
destiny. Do such appear? A secret voice tells us, as 
it told Samuel when he encountered Saul: Ecce vir. Iste 
dominiabitur (Behold the man. This same shall rule 
over my people).” 

The philosopher, Descartes, the illustrious English 
scholar, Newton, the reformer, Saint-Simon, Danton, the 
French Revolutionary leader, all had very large thumbs. 

Luther, the founder of Protestantism, according to a 
picture at Erfurt, which represents him standing in his 
cell, also had a long thumb, sign of domination. 

Voltaire, the man whose heart was most completely 
subject to his intellect, had enormous thumbs, long, large 
and square at the end of the nailed phalanx, as is proven 
by his statue at the Theatre-Frangais, and for which the 
sculptor Houdon made a cast of his hands. 

Corot, the celebrated landscape painter, who had many 
followers, had very long and strong thumbs. In him 
reason always dominated, even his heart. 

The Thumbs in the Home 

Since in the long thumb it is the head which dominates, 
and in the short thumb the heart, the long thumb should 
be the attribute of man, and the short one that of woman. 

Is this always the case? No. Hence we find that in 
married life the woman with long thumbs always wishes 




THE FINGERS 


45 

to control, to direct everything, in a word, as the saying 
goes, she wishes to “wear the breeches.” 

If the husband, too, has a long thumb, then a state of 
war reigns in the home: there is strife, separation and 
divorce. 

Hence, in marrying, a long-thumbed man should select 
a short-thumbed woman, and a long-thumbed woman 
a short-thumbed man; for in that case she will have a 
docile companion, and an humble servant, who will sub¬ 
mit to her will and her caprices. 

An old proverb says: “It is a sorry house where the 
hen crows and the cock is silent/’ Nevertheless, when the 
husband does not rise to the dignity of his mission as 
master and head of the family; when he is incapable 
of managing it, his wife may well, if she be fitted for the 
task, take over the reins of command, and arrogate to 
herself the right of supplementing her husband’s inca¬ 
pacity in this respect by her prudence, amiability and 
discretion. 

The Thumb and Servants 

Another deduction which we may draw from what has 
already been said regarding long and short thumbs is, 
according to Para, that when we need a servant, an em¬ 
ployee, or a domestic of any kind, we should choose 
among those who have short thumbs. Then we may be 
sure that he will be easy to direct, and will carry out not 
his own wishes, but ours. If by chance we engage a 
servant with long thumbs, we may expect to hear frequent 
objections, and much “back talk,” before he decides to 
:arry out our orders. And when he does carry them out, 
t will not be as we wish, but according to his own 
dea, and as he himself wishes. 


44 WHAT YOUR HAND REVEALS 

the heads of cults whose will power is immense, and in 
whom the exaggeration of will power invariably brings 
forth ambition, arrogance and despotism. 

“I have always thought/’ says Paul Bourget, “that in¬ 
equality, being one of the laws of the earth, certain men 
are born to command, and since the visible universe, al¬ 
ways and in everything takes the other for a model, these 
men bear upon their own persons the impress of their 
destiny. Do such appear? A secret voice tells us, as 
it told Samuel when he encountered Saul: Ecce vir. Iste 
dominiabitur (Behold the man. This same shall rule 
over my people).” 

The philosopher, Descartes, the illustrious English 
scholar, Newton, the reformer, Saint-Simon, Danton, the 
French Revolutionary leader, all had very large thumbs. 

Luther, the founder of Protestantism, according to a 
picture at Erfurt, which represents him standing in his 
cell, also had a long thumb, sign of domination. 

Voltaire, the man whose heart was most completely 
subject to his intellect, had enormous thumbs, long, large 
and square at the end of the nailed phalanx, as is proven 
by his statue at the Theatre-Frangais, and for which the 
sculptor Houdon made a cast of his hands. 

Corot, the celebrated landscape painter, who had many 
followers, had very long and strong thumbs. In him 
reason always dominated, even his heart. 

The Thumbs in the Home 

Since in the long thumb it is the head which dominates, 
and in the short thumb the heart, the long thumb should 
be the attribute of man, and the short one that of woman. 

Is this always the case? No. Hence we find that in 
married life the woman with long thumbs always wishes 





THE FINGERS 


45 

to control, to direct everything, in a word, as the saying 
goes, she wishes to “wear the breeches.” 

If the husband, too, has a long thumb, then a state of 
war reigns in the home: there is strife, separation and 
divorce. 

Hence, in marrying, a long-thumbed man should select 
a short-thumbed woman, and a long-thumbed woman 
a short-thumbed man; for in that case she will have a 
docile companion, and an humble servant, who will sub¬ 
mit to her will and her caprices. 

An old proverb says: “It is a sorry house where the 
hen crows and the cock is silent/’ Nevertheless, when the 
husband does not rise to the dignity of his mission as 
master and head of the family; when he is incapable 
of managing it, his wife may well, if she be fitted for the 
task, take over the reins of command, and arrogate to 
herself the right of supplementing her husband’s inca¬ 
pacity in this respect by her prudence, amiability and 
discretion. 

The Thumb and Servants 

Another deduction which we may draw from what has 
already been said regarding long and short thumbs is, 
according to Para, that when we need a servant, an em¬ 
ployee, or a domestic of any kind, we should choose 
among those who have short thumbs. Then we may be 
sure that he will be easy to direct, and will carry out not 
his own wishes, but ours. If by chance we engage a 
servant with long thumbs, we may expect to hear frequent 
objections, and much “back talk,” before he decides to 
carry out our orders. And when he does carry them out, 
it will not be as we wish, but according to his own 
idea, and as he himself wishes. 






46 WHAT YOUR HAND REVEALS 

Of course it is not said that a person with long thumbs 
cannot be a good employee or a good servant; but in 
order to do so he will need a great deal of resignation 
and powerful self-control. 

As a general rule, long-thumbed people are not born 
to serve and obey, but to be served and to command. 

Slight, Narrow and Thick Thumbs 

The slight thumb indicates organic weakness, even 
where there is no sickness properly speaking. 

The narrow thumb indicates a vulpine nature, more 
cunning and subtle than a frank, strong will, and dis¬ 
closes the ingenious diplomat. 

The thick thumb is the sign of a solid, vigorous con¬ 
stitution, resistant even in disease. 

The Digital Imprints 

The regular designs present on the palmar face of the 
nailed phalanx of the thumb and fingers, formed of short, 
curved lines in infinite variety, differ in every individual 
and cannot be changed. It has been proven in an article 
published in the Revue scientifique, that by means of the 
lines of the thumb it is possible to establish the identity 
of any individual, and that they form groups susceptible 
of classification. The investigations made under this 
head by Lacassagne and Dastre are conclusive. 

It is on the basis of the unchangeability of the lines of 
this phalanx, that Alphonse Bertillon has established his 
present system of identification, his anthropometric 
method of dactyloscopy, which consists in taking an in¬ 
delible ink impression of the palmar surface of the first 
phalanx of the thumb and the fingers. 

Dactyloscopy has also been introduced in the French 
army to identify the soldiers expelled from the Colonial 
forces and the Legion etrangbre. An army physician, Dr. 




THE FINGERS 


47 


Champeaux, is of the opinion that the same method might 
advantageously be made obligatory in the case of all citi¬ 
zens ; and he is right. . If, for certain civic papers and 
commercial documents, a thumb imprint as well as a sig¬ 
nature were insisted upon—just as cabinet ministers use 
their seals and business houses their firm stamp—many 
forgeries and counterfeits, and many of the denials of the 
authenticity of signatures, so prevalent not only among 
professional sharpers, but often employed as well by 
slow-paying creditors who are looking for a way to defer 
payment, could be avoided. 

The Orientals attach great importance to these regular, 
concentric designs of delicate lines which cover the first 
phalanx of the thumbs; they believe that these eddies of 
lines correspond to the convolutions of the brain: the 
large number of well-formed circles indicating that the 
influence signalized by the finger is characterized in a 
definite manner, in the world of the intellect; while im¬ 
perfect or partly open circles have the contrary meaning. 

The Movements of the Thumb 

The more detached and separated the thumb is from 
the rest of the hand, the greater is its owner’s faculty for 
comprehension and assimilation (Fig. XVII). 

When the thumb is quite detached, loyalty, instinctive 
frankness, contempt for prejudice, and detachment from 
purely material interests is indicated; for one will never 
find mental quickness, nor real generosity in people whose 
thumb is closely attached to the other fingers. 

The thumb inclining toward the other fingers, with the 
first phalanx crooked, like a claw, especially with a large, 
straight head line, indicates egotism, a deceitful person 
against whom one should be on guard; avarice, usury 
and rapacity (Fig. XVIII). 




48 WHAT YOUR HAND REVEALS 


Be on your guard with people whose thumb turns back 
in a marked degree, for this is an indication of suppleness 



XVD 



of character, and of a person who, to satisfy his inclina¬ 
tions, loses his moral sense, and would stoop to baseness. 
The thumb which turns backward and outward when 





THE FINGERS 


49 


the hand is held out, sometimes indicates lack of perse¬ 
verance ; but also kindness, magnanimity, generosity 
and prodigality (Fig. XIX). 

According to Desbarolles, there is an unusual form of 
the thumb which indicates erotomania and libidinous in¬ 
clinations. “While I was in England,” he says, “I was 
requested to send a governess to Paris. One was pre¬ 
sented to me whose manners were distinguished, who 





seemed well informed, and was provided with fine rec¬ 
ommendations. I examined her hand and it seemed 
worthy of noting that its peculiar shape led me to believe 
she stood under the powerful influence of Venus. Her 
thumb, when she opened her hand, advanced almost to 
the middle, and assumed the shape of the phallus of 
antiquity. The governess was installed in the home in 
question, but was only kept for a short time; since she 
brought disorder beneath its roof and was soon dis¬ 
charged” (Fig. XX), 












SO WHAT YOUR HAND REVEALS 


‘‘I have seen an old man of eighty-seven, whose sole 
regret, while still constantly preoccupied by his erotic 
desires, was that he was no longer qualified for the 
pleasures of Venus. This affluence of impotent vigor 
which tormented him while at the same time attesting his 
vitality was signalized by a particular shape of hand 
which I met with later at different times, always with the 
same results, which I have just mentioned, the thumb, by 
reason of its position in the middle of the open hand, 



xxn 


taking the strange form of a phallus, the other fingers 
being smooth, elegantly shaped and without a wrinkle. 
It was a hand identical with that of the assassin Castex, 
which I had seen, who after numerous sexual crimes 
against nature, had murdered a child after having vio¬ 
lated it.” 

The Neapolitans, in order to turn aside the “evil eye,” 
are accustomed to protect themselves against those whose 
glance brings ill-luck by means of the protecting fingers, 
the index and the little finger. To do so they hide the 





THE FINGERS 


5i 


thumb—which represents the will—in the hand,, and fold 
the medial and annular fingers over it in order to avoid 
any pernicious influence and all evil inspirations (Fig. 
XXI). 

The person who is in the habit of mechanically closing 
his hand on his thumb prevents the absorption of the 
vital fluid. As a consequence, he suppresses his reasoned 
will power, his reasoned logic and his reasoned decision, 
in order to yield himself—hands bound—to his instinctive 
will power, and his instinctive decision (Fig. XXII). 

When the hand is closed the thumb should rest on the 
index finger, like a lock, not only to prevent the other 
fingers from opening, but above all to guard the active 
vital force, and profit by its moral and physical qualities. 

The fighter in life’s battle, whether he be a boxer, a 
banker, a financier or an artist, should always, when his 
fist closes, have the thumb on the index finger. For, to 
enclose one’s thumb in the hand is to paralyze one’s self 
in every way, in annihilating the very essence of life, 
the power of the will, and in atrophying logic and reason. 

This gesture, therefore, is always unlucky, and a very 
bad augury. Those who have formed this fateful habit 
should break themselves of it as soon as possible, if they 
wish to see their personality awake to new life, and their 
chances of success bloom anew. 

“For want of other proofs,” Newton said, “the thumb 
would convince me that God existed.” 

The thumb, as we have said, is the man! 

Whoever has a good thumb may plunge into life’s 
battle without fear; for, together with the most powerful 
cause of the forces of action, the greatest of all powers, 
he has that magic strength most marvelously making for 
the attainment of a specified goal: the power of the will. 

“It is never power,” some philosopher has said, “that 


S2 


WHAT YOUR HAND REVEALS 


is lacking: it is will power. To will to do is to be able 
to do, and will power is the secret of our strength.” 

Hence, to a good thumb we may say: In hoc signo 
vinces (Under this sign you shall conquer). If the di¬ 
vine will is the moving power of life in general, man's 
will is the moving power of his own individual existence. 
It is by means of the will that we conquer our destiny. 

§ iv. The Index Finger 

The index finger, or finger of Jupiter, is that which 
points out, commands, threatens. It is the finger of de¬ 
cision, of attack, of combat. It indicates order, justice, 
clear and even intuitive administrative ability; it stands 
for religion, ambition, pride and sensuality. 

Pointed 

The index finger represents ambition; but the pointed 
finger indicates disorder; consequently, since it absolutely 
lacks order, it will find difficulty in realizing its ambitions. 
It stands for prompt command, ecstasy, mysticism, swift 
intuition as regards the beautiful, the easy and com¬ 
fortable, and the instinct which conduces to the contem¬ 
plation of nature. 

It may be pointed, while the other fingers are conical, 
square or spatulate; in which case it represents contem¬ 
plation in accord with instinct. For instance, a pointed 
index finger, other fingers being square, means love of 
nature, serious contemplation; there would be artistic 
aspirations, above all if there were a good sun line or 
line of Apollo. 

Square 

The square index finger stands for the search of truth 
based upon nature, for religious tolerance, for command, 



THE FINGERS 


53 


entire and fanatic subjection to rule, to social conventions, 
and to all that belongs to the exterior of life. The man 
with the square index finger is the bourgeois of the twen¬ 
tieth century: in France the immortal type known as M. 
Joseph Prudhomme, as Henry Monnier has described 
and depicted him. 

Spatulate 

This form of the index finger is very rare. It repre¬ 
sents the need of command, an active and exaggerated 
mysticism, bigotry, a nature prone to proselytism in 
matters spiritual, yet capable of falling into error. 

Straight 

When the line of the index finger is perfectly straight, 
perpendicular, from its point of departure at the thumb, 
to its extremity, it indicates strong determination, great 
need of independence, and a love for aggression and 
battle. Such is the index finger of Miss Maud Gonne, 
the great Irish patriot. 

Short 

The short index finger denotes violent ambition if it be 
hard, thick and spatulate ; otherwise it indicates but little 
ambition. 

Long 

When long, the index finger denotes pride, and an am¬ 
bition which is patient, but not often very energetic. 

Very Long 

The index finger which is almost the same in size as 
the medial finger—an excessive size—shows, first of all, a 
preference for things making for pleasure, show and 
comfort rather than for art. It indicates disorder, lack 
of thought, continuity, and thirst for consideration, love 





54 WHAT YOUR HAND REVEALS 

of authority and even despotism, with very pronounced 
tendencies for all the propensities of ambition and pride. 

According to Desbarolles: “This large-sized finger in¬ 
dicates a preference for cheap patronage; and inspires a 
kind of contempt for persons of merit who are minus 
rank or fortune. Those who have a finger thus shaped, 
blush when surprised in their society, especially if, as is 
often the case with scholars, their dress has been neg¬ 
lected. They will try to excuse themselves to fashionable 
or socially more highly placed people in whose circles 
they wish to move.” This form of the finger of Jupiter 
often indicates religious exaltation, especially if it termi¬ 
nates in a point. 

Supple 

Characteristic of the diplomat and courtier. 

Stiff 

This indicates an inflexible person who might be a 
good leader; but never a good diplomat or politician. 

Smooth 

Denotes rapid intuition, irreflectiveness and spon¬ 
taneity. 

Knotted 

Reveals a calculating ambition, prudent and based on 
reasoning. 

Thick 

Is an indication of material appetites, of a love for 
comfort and well-being. 

Flattened 

Slight, spare, it reveals a nature but slightly sensual, 
a sober temperament and an ascetic character. 


THE FINGERS 


55 


The Hippocrepian Finger 

Physicians recognize phthisis and congenital scrofula 
by the shape which the index finger assumed in these 
diseases, its first phalanx growing short, large, and 
rounded like a club; while the nail curves to the extent 
of entering the flesh. This fact is a commonplace of 
modern medicine, and Drs. Trousseau, Guitton, P. Marie 
and others have written notable monographs on the sub¬ 
ject. 

“The hippocrepian finger is the shortening of the un¬ 
gual phalanx with enlargement and thickening of the pul- 
pous portions of the fingers; at the same time the nail 
curves in toward the palmar region, and the extremities 
of the fingers assume the form of the head of a club or, 
better said, a serpent’s head. This process of malfor¬ 
mation, slow as a rule, may also be quite rapid and pain¬ 
ful. It may be observed in the last stages of phthisis, 
and is an attenuated form of the hypertrophic pneu- 
monial osteoarthropathy of Dr. P. Marie.” 

Solomon’s Ring 

What is known as “Solomon’s Ring,” is the prolonga¬ 
tion of the heart line which encircles the index finger like 
a ring, and terminates on its inner side. It is a sign of 
divination, of intuition as regards the occult sciences, even 
when nothing is known of them; and denotes instinctive 
intuition with regard to the mysteries of nature’s hidden 
life (Fig. XXIII). 

Phalanxes of the Index Finger 

First Phalanx .—Relatively long, it denotes intuition 
and a religious nature. 

Short, it signifies scepticism, and above all, if square, 
incredulity. 

Fleshy, it indicates religious sensuality of the Mahom- 


56 WHAT YOUR HAND REVEALS 

etan type. The religion of Mahomet sanctifies sensual 
bliss. We know, in fact, that eternal voluptuousness is 
the portion of true believers after death. 

Spare, it denotes religious austerity and rigidity. 
Second Phalanx. —Long, it indicates a positive nature, 
determined ambition. 

Short, it reveals lack of energy; it characterizes the 



xxm 


person who lets himself go, and makes no effort to 
ameliorate his position or extricate himself from it. 

Fleshy, it expresses the pursuit of comfort rather 
than that of power and glory; it stands for ambition; but 
merely an ambition to succeed in satisfying material ap¬ 
petites. 

Spare, it denotes a thirst for glory and domination, 
rather than for material advantage. 

Third Phalanx.— Well-developed, long and strong, it 







THE FINGERS 


57 

denotes a desire to rule, the necessity for honorable dis¬ 
tinction due to pride. 

Short, it represents self-effacement, indigence, and dis¬ 
interestedness in the affairs of life. 

Fleshy, it indicates a preponderance of material sen¬ 
suality, in all its forms, from the delicate amateurishness 
of the epicure, to greediness and gluttony. It stands for 
egotism, love of physical well-being and comfort, es¬ 
pecially if the fleshiness be accentuated on the side of the 
middle finger. 

Spare, it indicates contempt for the pleasures of life, 
sobriety and asceticism. 

§ v. The Medial Finger 

The medial finger, or finger of Saturn, is the finger 
which rises above all the others and dominates them. It 
is the axis of life, the representative of destiny, of the 
great events of existence. It indicates independence, 
scepticism, experience, a taste for the applied and occult 
sciences, the spirit of investigation, the factors indispen¬ 
sable to doubt and incertitude, to the craving to believe 
and inform one’s self which eternally preoccupies the 
nature of the sceptic, true disciple of St. Thomas. It 
also reveals concentration, egotism, avarice, love of soli¬ 
tude, and a taste for culture and gardening. 

Pointed 

The medial finger rarely is pointed. The finger of 
Saturn is symbolic of sadness, melancholy and super¬ 
stition ; but when it is pointed it loses its serious character, 
and may become carefree and even frivolous if the thumb 
is short. It indicates: intuition in advanced study, and 
ease in solving difficult problems in metaphysics and the 
moral sciences. 


58 WHAT YOUR HAND REVEALS 

Conic 

When the medial finger is conic it also means a loss 
of its characteristic melancholy and sadness. 

Square 

A square medial finger denotes: rigor in matters re¬ 
lating to morals, to religious belief, to the rule of prin¬ 
ciple, in everything; intolerance of all that stands for 
liberty and independence in ideas and doctrine, and a 
character whose solemnity, seriousness and reflectiveness 
is the more pronounced the larger the finger is. 

Spatulate 

A very long, seemingly enlarged and swollen middle 
finger is a sign of a sad, melancholy and pessimistic per¬ 
son, inclined to lugubrious and funereal thoughts some¬ 
times even going so far as suicide. And this sign may 
always be relied upon. It denotes an ardent desire, an 
attraction at times vertiginous, which leads the owner of 
the finger to get rid of his present existence in order to 
discover the secrets of another life. It indicates a need 
of activity in deep study, a taste for mining, agriculture 
and building. 

When the middle finger is spatulate rather than swol¬ 
len, with a flabby hand, activity in the lugubrious and 
melancholy is indicated: it denotes the painter who uses 
gloomy colors, the architect who designs mausoleums and 
tombs, the writer who alludes to death on every page, 
and the poet who weeps eternally. 

Short 

A short medial finger denotes an ill-judged destiny. 
Long 

The long medial indicates pride, sadness, patience and 
a strong degree of fatalism, lack of confidence in one’s 


THE FINGERS 


59 


self and in others. The person with such a finger is 
ambitious and proud with a hidden pride; this makes 
him sad and melancholy. He would like to attain the 
greatest positions, but in his fear of failure he does not 
thrust himself forward, and remains in his shell, a man 
misunderstood. 

Supple 

Denotes a less sorrowful and less sullen scepticism, 
and a more tolerable pride. 

Stiff 

Stands for dogmatic and uncompromising philosophy, 
and implacable destiny. 

Smooth 

Indicates ease of inspiration and spontaneity, with gen¬ 
eral sadness and gloom. 

Knotted 

Reveals a determined pessimism, an accentuated scep¬ 
ticism. 

Thick 

Is an indication of philosophic materialism. 

Spare 

Depressed, slight, spare, it indicates spirituality, even 
in the atheist. 

Phalanxes of the Medial Finger 
First Phalanx .—Long and large, it indicates persist¬ 
ence, prudence, melancholy, sadness, superstition, and 
a desire for death. 

Short, it denotes gentle resignation. 

Fleshy, it shows a lack of manners, a degree of free¬ 
dom occasionally stooping to coarseness. 


6o WHAT YOUR HAND REVEALS 

Spare, depressed, slight, it denotes cruel scepticism and 
charnal mysticism. 

Second Phalanx. —Long, it shows, according to its 
dimensions, a greater or lesser taste for agriculture and 
the exact sciences when the fingers are knotted; for the 
occult sciences when the fingers are smooth. 

Short, it denotes the waste of experience, the person 
who will never really learn what life is. 

Fleshy, it indicates more aptitude for agriculture than 
for the sciences. 

Spare, depressed, slight, it shows, on the contrary, 
more aptitude for science than for agriculture. 

Third Phalanx. —Long, it indicates avarice and, if 
slight, a taste for self-mortification. 

Short, it stands for well-considered economy or, if 
other signs concur, for prodigality. 

Fleshy, it reveals a serious and relatively sociable 
spirit, when the phalanx is short; but depraved instincts, 
avarice and egotism when the phalanx is long. 

Spare, depressed, slight, it denotes a man who is ren¬ 
dered unhappy by the progress of events and his own 
faculties. 


§ vi. The Annular Finger 

The annular finger, or finger of the sun (or of Apollo) 
is so called because it is the ring-finger of the hand. 
“The ring,” says Michelet, “was placed on the fourth 
finger because a vein in this finger was supposed to com¬ 
municate with the heart.” The conclusion was that this 
finger had a greater degree of natural warmth than the 
others, and as a result was in more direct commu¬ 
nication with the heart, which was the mainspring of 
warmth. 


THE FINGERS 


61 


Sympathetic Relation Between the Annular 
Finger and the Heart 

Dr. de Lachambre, first physician to Louis XIV, wrote 
in his The Art of Knowing Men (1662): ‘‘The sym¬ 
pathetic relation has not been ignored by antiquity ; and 
history teaches us that the physicians of the ancient world 
thought that this finger had some cordial virtue, and 
used it in preference to all others in mixing the medica¬ 
ments which entered into their antidotes. This is the 
reason it has been called the medical finger, which name 
it still retains in Latin.” 

It is evident that if the annular finger receives from 
the heart (the focal point of sympathy) a greater degree 
of warmth than do the other fingers, it must consequently 
receive a greater access of energy from the brain, where 
it would necessarily reply to the cerebral nerve which 
set the noblest qualities vibrating, and therefore, accord¬ 
ing to Desbarolles, this finger in chirology denotes talent, 
celebrity and glory, just as, by reason of its vehement 
relations with the heart, it may denote wealth. The lines 
which foretell glory are the same as those which predict 
fortune. It is the business of the chirologist to differen¬ 
tiate them, and to determine the exact truth, by the study 
of other signs and dispositions. 

The wedding-ring has given rise to numerous super¬ 
stitions in country districts; for instance, in certain parts 
of the country, the peasants insist obstinately that if the 
annular finger, wearing the wedding-ring, be applied to 
a sore or a wound, it will at once heal, whereas on the 
other fingers, the index finger for example, the ring 
merely aggravates and even poisons the diseased spot. 

The annular finger represents art, the ideal, the feeling 
for the great and beautiful; it indicates a desire to rise 
above materialism by dreams and meditation, a sense of 


62 WHAT YOUR HAND REVEALS 

logic in art, a practical appreciation of the beautiful and 
the ugly, the artist’s pride which makes him jealous be¬ 
cause he cannot endure that another should outshine 
him. 

Pointed 

The pointed annular indicates quick sympathies and 
inspiration in matters of taste and art. It also stands 
for the art which reacts readily to intuition, and also for 
a mysticism in art so intense that, in most cases, it is 
not realized. Finally, it represents the unexpressed 
vision of the beautiful, a dream only too often dreamt in 
vain, loquaciousness and unsteadiness. 

Conic 

If the annular be the only conic finger of the hand, a 
spirit of positivism and aptitude for commerce is indi¬ 
cated. 

Square 

This indicates love of riches, positive art, rigorism in 
art, the quest for truth and reason in art, and at the 
same time but little inspiration in actual working-out. 

The square annular finger, according to Para, will 
make a good copyist of handwriting, designs or pictures; 
but the pictures will lack the feeling for color, for move¬ 
ment, and the sense of action and animated poses. Its 
owner can do but little without the aid of ruler, square 
and compass. It will be difficult for him to invent or 
imagine something of his own accord. If needs be, this 
finger may make a good geometrician or architect, but 
never, by any means, an artist. 

Spatulate 

This indicates artistic power applied to matter in 
movement: it indicates the great painters, and the his- 


THE FINGERS 


63 

torians of battles and warlike episodes; the composers 
of marches and military music; writers whose style is 
replete with movement and whose ideas and descriptions 
are full of animation. It also reveals the artist of move¬ 
ment : the dancer, the performer, the musician, etc. 
Many comedians have a spatulate annular: it is the urge 
of movement in their art, an art which walks and talks, 
which expresses itself in voice and gesture. 

Short 

The short annular shows indifference to fame. Too 
short, it indicates low instincts, especially if the third 
phalanx be thick. 

Long 

The long annular reveals artistic tastes, a clear eye, 
love of pomp, luxury, expense and everything conducive 
to celebrity. 

Supple 

Indicates artistic skill. 

Stiff 

Shows a narrow, systematic, dryly theoretical spirit, 
and difficulty of realization. 

Smooth 

Denotes great spontaneity, an easy intuition for the 
beautiful; but a certain degree of disorder in expression. 

Knotted 

A knotted annular indicates a reasoned appreciation 
of beauty: in the case of musicians, of harmony; in that 
of authors, for well-ordered works; in that of painters, 
for clear and methodical pictures. 



64 WHAT YOUR HAND REVEALS 

Spare 

Depressed and slight, it stands for idealism in art, and 
theoretical estheticism. 

The Badly Shaped, Distorted Annular Finger 

The badly shaped, distorted annular finger, repulsive 
to the sight, with a kind of line on the mount of the 
sun, or Apollo, indicates a shameful notoriety, such as 
criminals possess. Twisted, distorted and crooked fingers 
always denote evil instincts, an odd and original char¬ 
acter, and a false point of view. 

Phalanxes of the Annular Finger 

First Phalanx. —Long, it denotes a lofty liking for 
art and intelligence which takes pleasure in noble and 
beautiful thoughts. It stands for pose, eccentricity and 
intellectual asceticism. 

Short, it denotes less artistic sense and less love for 
vain show, and greater simplicity in manner, language 
and dress. 

Fleshy, it shows feeling for beauty in form, esthetic 
sensualism. 

Spare, depressed, it shows feeling for beauty in ideas, 
spirituality, estheticism. 

Second Phalanx .—When long, it indicates the useful, 
logical and reasonable in art, the reasoning wish to at¬ 
tain by work. It also denotes merit, talent, originality 
and eccentricity. 

Short, it indicates the impotence of the man who fails, 
all the sadder the more idealism the first phalanx denotes. 

Fleshy, it indicates realistic art, the faculty for ex¬ 
pressing ideas, and to give them practical material form. 

Spare, depressed, it expresses idealistic art, a dry, suc¬ 
cinct manner of expression, reduced to bare essentials. 


THE FINGERS 


65 

Third Phalanx. —Long, it indicates material art, love 
for form, unmixed with thought, the desire to shine, 
the vanity which likes making a show, rather than pride, 
a hunger for riches, for advertisement, honors, decora¬ 
tions, especially if the phalanx be fleshy. 

Short, it indicates lack of success, and want of skill in 
art. 

Fleshy, it indicates an instinct for artistic comfort, or 
for comfort which pretends to art; it is the favorite sin 
of those who get rich quickly. 

Spare, depressed, it denotes disregard of notoriety, of 
comfort and of wealth. 

§ vii. The Little Finger 

The little finger, or finger of Mercury, also called the 
“auricular” finger, because its size permits of it being 
easily inserted in the external ear-duct, is the finger of 
skill. It is also the loquacious finger, “the little finger 
which tells everything.” It denotes intuition, eloquence, 
love of science, tact, good judgment in business, skill, 
practical knowledge in industry and commerce, cunning, 
the art of beating a skillful retreat, and of never being 
at a loss either in conversation, or in the daily difficulties 
of life. 

Pointed 

When pointed the little finger denotes natural elo¬ 
quence, perspicacity, acuteness, the cunning more espe¬ 
cially associated with whatever liking is the dominant 
one, according to a person's temperament and character; 
and aptness in understanding the occult sciences. 

Conic 

The conic little finger also denotes natural eloquence, 
cunning, perspicacity and acuteness. 




66 WHAT YOUR HAND REVEALS 


Square 

When square, the little finger shows reasoning in sci¬ 
ence, hence practical and logical science, the gift of clear 
explanation. It is the finger of the teacher; physician, 
physiologist, lawyer, and the business man skilled in 
considering matters logically and clearly. It denotes 
love of research and study, as well as aptitude for ab¬ 
stract discovery, based on logical premises. 

Spatulate 

This stands for movement in science, or the science of 
movement; for mechanics and machinery, for moving 
eloquence, for play-acting, and even for theft, when other 
signs are confirmatory. It also denotes physical address, 
bodily suppleness, prestidigitation and gymnastics. 

The Movement of the Little Finger 

The little finger is always brought into play when it 
is a question of doing anything that calls for skill; it 
then moves gracefully and helps carry out what is done. 
In a hand whose gestures are pleasing, the little finger 
in particular must stand out, must slip away a bit, curv¬ 
ing back gracefully. Yet we must not fall into the 
error of pretentiousness, as shown by those who are un¬ 
able to raise a glass without ostentatiously stabbing the 
sky with their little finger. 

Short 

It indicates intuition, prompt repartee, divination in 
science, synthetic revelation, inspiration which discounts 
profound study, a docile intelligence, and great aptitude 
of assimilation. 

Very Short 

It announces rapid conception and very great ability 
to assimilate, especially if the finger be smooth. The 


THE FINGERS 


67 

intelligent person who has a little finger of this type 
need only turn over the pages of a book in order to dis¬ 
cuss it in an interesting manner. 

Long 

This means well-pondered study, science and “know¬ 
ing how,” all very necessary to worldly success. 

Very Long 

A quick wit, great facility in elocution, a gift for swift 
and easy repartee, a desire to learn, and in studying a 
science or art the faculty of studying conscientiously, 
seeking perfection, and relying on principle. 

Supple 

Indicates diplomacy, politeness, skill and dexterity. 
Stiff 

Denotes lack of tact, arrogance, and unsociability. 
Smooth 

Reveals spontaneous intentions, often happy ones, but 
unsupported by reflection. 

Knotted 

Denotes reasoned science, easy eloquence, and aptitude 
for commercial combinations and business. The “Philos¬ 
opher’s knot,” at the first phalanx of the little finger, 
inclines its owner to presentiments and divination. It 
also shows scientific research. The knot of materialism, 
indicates commercial research and skill in business inter¬ 
ests. 

Spare 

Depressed, slight, it indicates a clever and distin¬ 
guished spirit, one adroit, malicious and cunning. 


68 WHAT YOUR HAND REVEALS 


The Twisted or Misshapen Little Finger 
The twisted or misshapen little finger, sometimes half- 
folded or crooked, is a sign of bad luck, or at the very 
least of a luck more than shifting. It is often found on 
the hands of very intelligent persons, who, neverthe¬ 
less, have little success despite their intelligence and 
ability. “They challenge fate,” says Desbarolles, “by the 
very measures by which they think to ensure success. 
Nevertheless, they may hold for a time the positions they 
lose by imprudence or the lack of solidity in the measures 
they take.” We have often remarked this finger on 
ladies of the half-world who were in fashion, but whose 
success was only temporary, and who were abandoned 
by fate. 

The little finger of envious people is usually misshaped, 
and indicates awkwardness, clumsiness and falsehood. 

The Little Finger Bending Inward 

Some people have a natural tendency to keep the little 
finger folded up within the hand. Dr. Laudouzy declares 
this is a sign of gout. Perhaps, but take notice that 
misers have little fingers which, as a rule, are very long, 
and at times approach deformity. Like the prudent souls 
that they are, in order not to call attention to the fact, 
and to disguise it as much as possible, they instinctively 
bend in and hide the extremity of the auricular. 

Phalanxes of the Little Finger 
First Phalanx. —Long, it indicates eloquence, love of 
science for science’s sake, and a taste for study. 

Short, it denotes intellectual laziness, especially if the 
finger be smooth. 

Fleshy, it denotes but little acuteness, a gross spirit, 
stupid nastiness and the broad astuteness of the peasant. 


THE FINGERS 69 

Spare, depressed, it is a sign of tact, of delicacy of 
spirit, and of conversational good taste. 

Second Phalanx. —Long, it denotes a reasonable and 
practical person, looking to the useful side of things, as 
regards commerce and industry. 

Short, it shows want of aptitude for speculation, and 
may even signify loyalty when other signs permit. 

Fleshy, it means that he who has such a little finger 
understands business, commerce and industry, and dwells 
on the pleasures which allow him to obtain and enjoy. 

Spare, depressed, it indicates the merchant, industrial 
or financier, who is more at home in the theory than in 
the practice of his profession. 

Third Phalanx. —Long, it bespeaks cunning, skill, a 
poorly directed eloquence, going as far as falsehood, 
hypocrisy and charlatanism. 

Short, it denotes stupid simplicity. 

Fleshy, it denotes material tastes, immodesty, lewd¬ 
ness, often of a solitary character, and sometimes liber- 
tinage. 

Spare, depressed, it denotes a character as matter-of- 
fact as a row of figures, and a spirit taken up with com¬ 
putation. 

The Little Finger With Two Phalanxes 

We knew a person who had only two auricular pha¬ 
lanxes. The first, nailed phalanx was much longer than 
the other. This showed clearly that this person was ab¬ 
solutely minus cunning and dexterity; but that he was 
apt at intellectual studies and very artistic. 

If on the contrary, the nailed phalanx be much shorter 
than the other, practical good sense, dexterity and ma¬ 
terialism dominate the artistic sense and the intellectual 
faculties. 


70 WHAT YOUR HAND REVEALS 


§ viii. Length and Thickness of the Fingers 

Long Fingers 

Long fingers, that is, fingers whose medial is longer 
than their palmar phalanx, are far less active than short 
and thick-set fingers. They show the analytical spirit, 
a love for the very least details, which they lose time to 
minutely analyze and describe. They like to enter into 
a multitude of irrelevant detail, often too charming, since 
they make them lose sight of the main point at issue. 

Long-fingered people are spiritually far more devel¬ 
oped than materially; they try to bring the intellect to 
bear on everything, and to let their own shine forth— 
unless their fingers are square, and knotted, which in¬ 
dicates the highest degree of business sense. They are 
vain, sensitive, always inclined to contradiction and to 
criticism, a criticism which embraces the most trifling 
details, the way a scarf is tied, the cut of clothes, one’s 
peculiarities of gait, of attitude, etc. They have an in¬ 
voluntary craving for examining the clothing of others, 
and are analysts in every detail of life. 

They are very susceptible, hold all vulgar tendencies 
in horror, are strict upholders of etiquette, and every¬ 
where and always, even with those whom they know 
intimately, insist upon good manners and respect for 
good breeding. 

Should you visit a long-fingered person, you should 
take care to be beyond reproach with regard to your 
dress, bearing, words and gestures; for you will be ex¬ 
amined in detail, and no matter how intelligent the per¬ 
son whom you are visiting may be, they will appreciate 
this minute refinement which is so much to their taste, 
which is actually a matter of instinct in their case. 

“With regard to love,” says Para, “long-fingered men 


THE FINGERS 


7 i 

seldom make good husbands, nor long-fingered women 
good wives. We can only advise those who like an agi¬ 
tated home atmosphere, and whose blood has to be stimu¬ 
lated by storms and wrangling to marry them.” We 
might add: especially when their nails are short and their 
fingers knotted. 

“Be on your guard,” says Desbarolles, “against a 
long-fingered man, whom the ‘philosopher’s knot’ inclines 
to study first causes. Studying you, he will start with 
some trifling detail, and will easily come to conclusions 
regarding you, if he has the logic indicated by length of 
the second phalanx of the thumb. I say be on your 
guard, for none of us are perfect, and it is human nature 
to divine our defects rather than our virtues.” 

The long hand, with strong knots and a large thumb, 
shows an excessive spirit of analysis, one subtle and 
quibbling, an instinct for controversy, and a love of 
polemics. This hand belongs especially to pettifoggers 
and polemic writers. Together with square fingers, 
which denote clarity, reason and command, they make 
one apt at any calling, skillful in all those practical 
sciences which place the actual and the positive before 
the ideal. American and English hands are of this 
type, showing that, before all else, they belong to prac¬ 
tical and positive people. France and England manu¬ 
facture gloves with exceptionally long fingers for the 
American market, which implies that there these fingers 
are common.' 

Long, pointed fingers denote falsehood, affectation, 
and a tendency to pose, unless a large head line gives a 
more serious turn to these frivolous characteristics. 

The long-fingered lawyer has the analytical spirit; he 
is not quick enough summing up a case, paying too 
much attention to details and side-issues which he de- 



72 


WHAT YOUR HAND REVEALS 


velops successively at too great length, lingering over 
trifles and drowning in a sea of them, and wearing out 
judge and jury while he painfully establishes his con¬ 
clusions. 

The long-fingered writer loses himself in descriptions 
and details, to the extent of forgetting his main subject. 

The long-fingered painter, too, loses himself in detail 
to the extent of injuring his collective effect. 

Short Fingers 

Short, smooth fingers, that is to say fingers shorter 
than the palm, are far more active than long fingers, and 
indicate a synthetic spirit. 

Short-fingered people come to immediate decisions, 
they judge at a glance, and often correctly; because they 
judge by inspiration. They do not go into detail, and 
only examine a matter as a whole; it either suits or does 
not suit them. They are not cheap, they come straight 
to the point, and are easy, accommodating and straight¬ 
forward in business as in love. They are but little given 
to criticism and contradiction unless their nails be very 
short. 

They are brief, concise in style and mode of writing, 
even when their fingers are pointed; and never lose 
sight of the main end in view. 

They are generally gifted with inspiration, and are 
never at a loss in serious conversation on some useful 
subject. 

Short fingers with knots will show more reasoning 
power and calculation, but even then they will judge by 
synthesis rather than by analysis. 

Short-fingered people are unaffected. Should you 
visit one of them with a petition to present or a busi¬ 
ness matter to propose, it is unnecessary to “dress up,” 


THE FINGERS 


73 


for they would never notice it. But since they have no 
time to lose, present your business in a few words, and 
be clear, concise and brief, otherwise they will not listen 
to you. 

The short-fingered lawyer, with his synthetic spirit, 
forms his judgment of a matter as a whole, at first glance. 
He presses straight to his goal, pleads his case without 
losing himself in detail, and comes quickly to his con¬ 
clusion. 

The short-fingered writer handles his subject thor¬ 
oughly, without losing himself in descriptions, or drown¬ 
ing in detail. 

When a painter is short-fingered, he is led to look at 
his work as a whole rather than in detail, which makes 
it easier for him to read nature’s great masterpieces of 
light and shade. 

Executive officials, such as those at the head of great 
banks, and big commercial and industrial enterprises, 
nearly all have smooth, short and square fingers. 

Medium-length Fingers 

Fingers of medium length, that is, those just as long 
as the palm, show that the material instinct and the 
intelligence are well balanced. They always denote a 
good character and a just and upright spirit. 

These fingers, at one and the same time, control the 
collective whole and its details, the synthetic and the 
analytic spirit. 

“Meeting people with these hands,” says Para, “one 
may trust them without afterthought, unless they pre¬ 
sent other signs which might inspire distrust. Yet, aside 
from such very rare cases, since, as I have said, Nature 
does not contradict herself, confidence placed in people 
whose fingers are the exact length of their palms, will 
never be abused.” 




74 WHAT YOUR HAND REVEALS 

Large Fingers: Fat Fingers 
Large fingers indicate matter dominating the intellect; 
they denote a massive organization, destined to heavy 
work, having crude and common tastes. 

Fat, swollen fingers, especially at the third phalanx, 
denote the preponderance of sensuality, in all its forms; 
also idleness, love of comfort, gluttony, and a taste for 
sensual and voluptuous pleasure. 

Slight Fingers: Thin Fingers 
Fingers slight but not thin, reveal a delicate and subtle 
intelligence; but very often dissimulation and lack of 
frankness as well. 

Thin fingers, especially those thin at the third phalanx, 
denote sobriety, and disregard for comfort; yet if they 
are altogether spare and thin, they show a serious nature, 
and one, inclining to parsimony, which may be led into 
avarice. 


§ ix. Smooth Fingers 
“Instinct is the power of negation.” 

‘‘Smooth fingers, that is fingers without knots,” says 
d’Arpentigny, “bear the germs of art in them. No matter 
how clearly defined the goal toward which their inter¬ 
ests impel them, they will always proceed by inspiration 
rather than reasoning, by fancy and sentiment rather 
than exact knowledge.” 

The fingers and the whole hand, as we have already 
said, communicate directly with the brain by means of the 
nerves. 

In the case of smooth fingers, the vibrations or fluids 
have an easy, unobstructed channel for rapid circulation, 
and fly directly to the brain, hence the impression made 
as swift, electrical, spontaneous. 


THE FINGERS 


75 


Hence, all persons with smooth fingers, be they 
pointed, conic, square, or spatulate, are impulsive rather 
than reflective. They judge men and affairs by inspira¬ 
tion and at first sight, instinctively or intuitively, by 
sympathy or antipathy. They have very swift intuition, 
great impressionability, a powerful faculty of assimila¬ 
tion, exquisite sensibility, and artistic taste. 

These persons feel, experience, divine by intuition; 
they even act on presentiment, and their first impulse 
is always the best, in accordance, it must be understood, 
with the power of their faculties. Reflection does noth¬ 
ing for them. They have psychic and heart intuitions 
which are worth more to them than the deductions of 
the intellect. In the case of women, particularly, their 
ideas follow the sequence of sentiment rather than that 
of reflection. 

Children have smooth fingers because it is necessary 
for them to understand instantly, by sense of touch. 
There are no children with knotted hands; these knots 
develop later. 

Smooth fingers dislike figuring; nevertheless, because 
of their great spontaneity, they are able to calculate very 
rapidly. 

All light, graceful and engaging and artistic studies, 
and delicate work are within the power of smooth hands 
to do. 


§ x. Knotted Hands 
“Reason is the positive force.” 

The Knots and Their Influence 

The knots are the outstanding articulations which con¬ 
nect: the first nailed phalanx with the second (the “phi¬ 
losopher’s knot”); and the second phalanx with the third 
(the material knot). 


76 WHAT YOUR HAND REVEALS 

The “philosopher’s knot,” when excessively developed, 
forms a species of swelling on the nailed phalanx. 

In accordance with the greater or lesser development 
of the knots, the qualities they represent are greater 
or lesser (Fig. XXIV). 



Exaggeration of the fullness of the knots, as of the 
exterior shape of the hand, always indicates excess, and, 
consequently, disorder of the faculty or the instincts they 
represent. 

People with knotted hands understand more slowly 
and with greater difficulty than smooth-fingered ones. 





THE FINGERS 


77 


It costs them far more application, work and calculation, 
since the fluid in circulating between brain and fingers 
encounters difficulties when traversing the knotted 
fingers. 

Smooth fingers may become knotted, but knotted 
fingers never grow smooth. We know persons whose 
fingers, at first very smooth, have become knotted at 
the first phalanx; others at the third, as a consequence 
of changes of situation and new studies, calling for a 
special effort of the will. Hence, if fingers and hands, 
the mirrors which reflect our destinies, may be modified 
as a consequence of particular circumstances and at the 
direction of the will, then destiny itself is not irrevocable, 
and may be modified. 

As we age, the knots of the hand become more clearly 
marked and visible, because, growing older, we grow 
more settled, less credulous and more logical. 

The “Philosopher’s Knot” 

The “philosopher’s knot” indicates the struggle be¬ 
tween thought and reason, logic, method, order in ideas, 
research of cause, comparison, the philosophic spirit, and 
independence. 

D’Arpentigny defines the attractive powers of the 
“philosopher’s knot” as follows: “You feel the need of 
accounting for your sensations to yourself. The secret 
of your own being occupies you as well as that of the 
origin of all things. Your beliefs, your thoughts, your 
opinions have not been taken by you on the word of 
some one else; but only after a thorough examination 
of their every aspect. Reason seems to you a surer 
guide than instinct and faith, even in the case of love.” 

Those who wear the “philosopher’s knot” on their 
finger, discuss their own ideas as well as those of others; 


78 WHAT YOUR HAND REVEALS 

they are combative and belligerent by nature because of 
their short nails, and they question all exalted merit and 
seek to blacken it. 

They doubt everything, are confirmed sceptics, test 
everything and believe nothing without proof; wherein 
they are true disciples of Saint Thomas, the sceptical 
apostle, and the patron of every genuine scholar and 
extreme rationalist. 

They have a taste for independence, are generally in¬ 
clined to revolt, and are usually identified with advanced 
ideas in politics. They believe in nothing, but on the 
other hand are always mystical and superstitious. Few 
women have the “philosopher’s knot.” They rarely seek 
first causes, which, as a rule, however, does not prevent 
their divining their effects with surprising sagacity: this, 
no doubt, being the reason why the ancients credited 
them with having the spirit of prophecy. 

Women writers who have the “philosopher’s knot,” 
are generally insurgent blue-stockings. 

“In France, and in Paris in particular,” says Des- 
barolles, “the ‘philosopher’s knot’ is very common. It 
explains the Parisian’s great need of liberty, mingled 
with good sense; for the square finger is often found in 
connection with it. His levity comes from the smooth 
fingers, which are also very numerous.” 

The Material Knot 

The material knot indicates order in all things, those 
qualities known as practical ones, a taste for solid busi¬ 
ness which pays returns, and supplies comfort, riches 
and fortune. 

This knot is very useful to merchants and business 


THE FINGERS 


79 


men, and especially to speculators. If it be exaggerated, 
especially if the fingers are flat at the base, it shows moral 
calculation, egotism. 

The “Philosopher’s” and the Material Knot 

The union of these two knots robs the hand of plastic 
beauty, but in return it gives it some very appreciable 
qualities: reason, realism, reflection, positivism, a taste 
for order, even to excess, in ideas and in things, a love 
of analysis and figures; but also some manias. 

The knots are especially serviceable to pointed and 
spatulate hands, by compelling them to reason and re¬ 
flect, and inclining them to be wise and reasonable. 

The union of the two knots takes away taste for the 
fine arts, and turns the artist into an artistic speculator. 

Spare and knotted fingers indicate egotism and domi¬ 
nation. 

With these knots, decisions are preceded by reflection: 
their possessors reason, they weigh one point and an¬ 
other, do nothing on chance, and refuse to act until after 
ripe consideration, without precipitancy, and after hav¬ 
ing gone so far as to review their own impressions. 

Deep and serious studies, which call for research and 
calculation, as well as the heavy work which demands 
strength or patience, are within the scope of the knotted 
hands. 


§ xi. Interrelation of the Fingers 

Each finger, as we have seen, has a separate interpre¬ 
tation when considered individually; but this interpreta¬ 
tion changes in their relations to each other, according 
to length, thickness, form, and distance one from an¬ 
other. 


8 o WHAT YOUR HAND REVEALS 


The Spacing of the Fingers 

When close to one another at the base, discretion and 
economy are indicated. 

When, on the contrary, they are wide apart, it is a 
sign of levity, egoism and loquacity. 

Separated at the base, but rejoining each other farther 
up, they denote misery and poverty. This type is fre¬ 
quently encountered in beggars’ hands. 

If index and medial finger are widely spaced, when 
raising the hand, it is a sign of an independent mind. 

When annular and little finger are widely separated, 
great self-confidence is indicated. The light circulating 
between them is an indication of a brain powerfully 
organized for both thought and action. 

Tendencies of the Fingers 

The thumb, when inclined toward the other fingers, 
forming a pair of tongs, denotes, as we have already 
seen, avarice, usury and rapacity, and when all the fingers 
curve inward it shows an unceremonious, avaricious and 
cynical disposition. 

The index finger inclining toward the thumb reveals 
egoism, avarice, and an ambition reflexively directed. 

The index inclining toward the medial finger, indicates 
ambition turned toward the sciences, or yielding to fate, 
either for better or for worse. 

The medial finger inclining toward the index indicates 
a philosophy which does not despise the good things of 
this world. 

The medial finger inclining toward the annular, de¬ 
notes preference for study of the arts, and often a liking 
for notoriety. 

The annular inclining toward the medial shows the 
ideal submitting to destiny. 


THE FINGERS 81 

The annular inclining toward the little finger, denotes 
art taking the advice of science. 

The little finger inclining toward the annular, indicates 
artistic skill, or the utilization of art in business: the 
commercialization of art. 

All the fingers: the index finger, ambition; the medial 
finger, study and fatality; the little finger, science, in¬ 
clining toward the annular as though magically attracted 
to it, indicate that all the faculties incline toward art; 
it is a proof that art is the only thing that the owner of 
the hand loves and understands, and that art is his main 
object in life. 

All the fingers when they turn back on the back of 
the hand indicate skill, ability and cunning, and, when 
they are curved backward, pose, mannerisms, and eccen¬ 
tricity. 

Regarding Fingers Projecting and Drawn Back 

According as a finger may be advanced before, or 
drawn back from another, it either denotes dominatory 
tendencies as regards the others, or the reverse. 

When the index finger projects, according to Desba- 
rolles, ambition and religion will dominate life. 

If it be the medial finger, fatality will dominate. 

If it be the annular, then art or wealth will come be¬ 
fore all else. 

If the annular and little finger are advanced or project 
before the medial, art and science will triumph over 
fatality. 

If, on the contrary, the index finger is drawn back, it 
indicates the abandonment of ambition. 

And so on for the other fingers. 


82 WHAT YOUR HAND REVEALS 


Regarding the Length of the Fingers as Compared 
with Each Other 

When the index finger is longer than the annular, it 
indicates pride, and a greater liking for pleasure, com¬ 
fort and show than for art. 

When, on the contrary, the annular is longer than the 
index finger, it is a sign of a taste for the arts, or that 
a taste for the arts is stronger than ambition, appetite 
for wealth, and the desire to shine. Then the medial 
finger inclines toward the annular, as though magneti¬ 
cally drawn to it. This type of finger is not only met 
with in the case of nearly all gifted artists, but even in 
that of people merely caring for the arts and drawn to 
them. 

When the annular is as long, or nearly as long as the 
medial finger, it is an infallible sign of a love of play, 
or at least, of hazardous adventures, especially with a 
very delicate head-line rising toward the mount of 
Mercury. Persons bearing these signs are fond of ad¬ 
venturous voyages, a wandering life, dangerous or at 
any rate audacious enterprises, risks, and games of 
chance of every kind. 

§ xii. Sense of Touch—The Drop of Water 

The sense of touch resides at the extremity of the 
fingers, on the side of their palmar face: in this place 
the palmar skin offers a range of slight eminences which 
may be observed by the naked eye, and which are ar¬ 
ranged in concentric lines. It is in these eminences, 
known as papillce , that the specifically tactile nerve-fila¬ 
ments end; and it is owing to them that we can feel and 
recognize the form, size and various qualities of things. 
Idiots have no outstanding fingertips, and hence no sen¬ 
sitive papillce. 


THE FINGERS 83 

The “drop of water” is the protuberance found at the 
fingertips, in which dwells an exquisite sense of touch, 
and naturally, the more sensitive papilla it has, the more 
the action of its papilla makes itself felt. The “drop 
of water” indicates sensuality, love of beauty and, at 
times, egotism; and bestows on artists who create in the 
plastic arts the gift of execution and manual skill, as 
well as emphasizing their dominant aptitude. 


CHAPTER V 


A GENERAL OBSERVATION REGARDING 
INDIVIDUAL INTERPRETATIONS 

“Above all, be on your guard against one thing: too great haste 
to come to a conclusion. Be your own adversary, a vigilant and 
tenacious one. Always remember to try and find yourself in the 
wrong.”—L etter of Pasteur to Dr. P. Gibier. 

Let it be understood, once and for all, that the in¬ 
terpretations which we have given singly and individually 
for the fingers, the hands, the lines, and the accidental 
signs, are nearly always softened, attenuated or empha¬ 
sized, corrected or modified by the shape of the thumb, 
or the presence of the “philosopher’s knot,” and the ma¬ 
terial knot, and by certain special modifying signs; and 
also by the influence of ancestral hereditary signs, and 
the mounts, which influence defects, qualities, tendencies 
and instincts. 

These individual interpretations, therefore, should be 
held in abeyance until a complete examination of the 
hand has been made. For, just as in nature all acorns 
do not grow into oaks, nor all germs fructify—those 
which are evil, and of which one may rid one’s self, 
being extirpated before maturity in order that they will 
not interfere with the development of the good ones— 
so in man’s case, all signs do not realize what they fore¬ 
tell, since they are susceptible to change and modification, 
as we have already explained. 

Hence, we again repeat, the trend of the soul’s devel¬ 
opment, one’s natural instincts, tendencies and character 
may be fought against by means of education, training, 
84 


INDIVIDUAL INTERPRETATIONS 85 

hygiene, habit, effort and, above all, by will power, the 
greatest motive force and the most powerful magic man 
has at his disposal to attain any definite goal. 

The chirological signs merely indicate the impulsions 
to which the person whose hand is under examination 
is subjected; but these signs do not specify the changes 
which may occur, especially in the case of a very im¬ 
pulsive or very self-willed person. 

One should always remember the story told of Soc¬ 
rates, who, accused of having all vices, replied to his 
protesting disciples: “The man was right. I had a pas¬ 
sionate inclination toward viciousness, but my will power 
has broken all those impulses. ,, Therefore, it is only 
with the greatest circumspection, and after having laid 
under contribution all the factors susceptible of making 
matters clear to us that we may conjecture and diagnose 
with certainty. 



CHAPTER VI 


THE HANDS 

§ i. The Tendencies Peculiar to Each Type of Hand 

Hands may be divided into four very distinct types: 
pointed hands, or hands with pointed fingers; square 
hands, or hands with square fingers; conic hands, or 
hands with conic fingers; and spatulate hands, or hands 
with spatulate fingers. 

By means of the nerves, the hands communicate di¬ 
rectly with the brain, and if the vibration or the vital 
fluid which puts them in touch with each other is hin¬ 
dered by no obstacle, transmission is immediate and the 
impression made a spontaneous one. 

Under such conditions pointed fingers offer an easy 
and unhindered channel of communication, and, in this 
sense, may be compared to the magnetized tips of con¬ 
ducting-rods, drawing in and casting off the electric fluid 
with ease, and hence taking in and throwing out the 
ideas surrounding them, in the same manner. Thus we 
have the inspirations, the illuminations, the inventions 
which leap from pointed fingers, and are responsible for 
dreamers, poets and inventors. 

Square fingers, by reason of their broad shape, though 
they do not stop the fluid, suspend it, giving reason an 
opportunity to weigh and to grasp these inspirations. 
When these fingers wish to have ideas, they must give 
birth to them themselves. This mental labor, this tension 
86 


THE HANDS 87 

of the intellect, compels them to reflect, but at the same 
time endows them with reasoning power. 

Spatulate fingers, which are the most heavily burdened 
with matter, offer a still greater obstacle to the transmis¬ 
sion of fluid. Here it is not alone a case of reason en¬ 
lightening them; but matter, above all, dominates 
thought, and hence the instinct for action and movement 
controls. 

Since each type of hand declares with invincible per¬ 
sistence those tendencies which are proper to it, we may 
say: 

Pointed hands: Intuition, the arts, ideas, theories. 
(Inventors.) 

Square hands: Reason, study, organization, the trend 
to perfect practicability. (Those who turn to and act.) 

Spatulate hands: Instinct, appreciation, labor, putting 
into effect. (Those who put things into effect.) 

With regard to conic hands, they have numerous apti¬ 
tudes, save the mathematical ones. 

Humanity in general, according to the shape of the 
hands, may be classified in two great categories: 

Pointed hands: The inventive and poetic natures. 

Hands not pointed: The positive natures. 

§ ii. The Pointed Hand 

The pointed hand is the hand of intuition, of imagi¬ 
nation, the hand artistic and psychic, the hand of ideal 
philosophy and of the aristocrat of taste and ideas, not 
the aristocrat by birth; for the genuine blue-blooded 
hand, which commands and directs, is at times square, 
in nearly all cases conic, but rarely pointed, especially in 
men. 

This good-looking hand with medium-sized palm, 
smooth fingers, and rosy, almond-shaped nails, possesses 


88 WHAT YOUR HAND REVEALS 


really seductive and brilliant qualities. Yet it is not at 
all equipped for the struggle of life. It entirely lacks 
a sense of order, reason and logic, consequence in 
thought, and even, very often, moral sense. It lives out- 



xxv 


side the real world, completely ignorant of the material 
interests and practical meaning of life (Fig. XXV). 

To think of material things, to reason, act, make an 
effort, represents the greatest of hardships to this type 
of hand. It stands for laziness incarnate, and takes 
pleasure in doing nothing. Hence among many very 





THE HANDS 


89 

intelligent people with pointed hands, but few succeed 
in making something of themselves; they are clever at 
everything, yet rarely bring any matter to a satisfactory 
termination. 

Intuitive, impulsive, impressionable and sensitive, this 
hand only reasons with the heart. It often divines what 
it does not know; passes from the maddest gaiety to the 
most profound discouragement, and yields easily to the 
good or evil influence of environment or example. 

Tending to exaggerate, it distorts the truth, lies un¬ 
consciously, and mistakes its dreams for realities. 

Its uncommonly lively and romantic imagination, ex¬ 
uberant, always bubbling over, is ceaselessly active and 
has an intoxicating influence. Its ideas wander; its 
mind is ebullient: it passes its time in meditation, con¬ 
templation and revery. And what are its dreams ? Day¬ 
dreams! It has a passion for contemplation, idealism, 
the supernatural. 

It has elegance, taste, a feeling for beauty and grace 
in adornment. All that it wears, and all its surroundings 
are in harmony. Whatever it makes, chooses, buys and 
wears is chic and distinguished. 

It is the hand of the born artist, with an understand¬ 
ing for all arts, and clever at all of them. It is fond of 
literature, poetry, all that is beautiful and inspired with 
poesy as regards the mind, the soul and the heart. It is 
a delightful conversationlist, and a most charming and 
agreeable raconteur. 

Coquetry is one of its cherished lesser sins. 

Loving, affectionate, sentimental, passionate, even 
ardently inclined to pleasure of every sort, it is sensible 
to flattery, and delights in change and flirtation; but it is 
inconstant, faithless, fickle; changeable and capricious 
in its affections and in its friendships as in its loves. 


90 


WHAT YOUR HAND REVEALS 


Hence this hand, in nearly every case, shows well-marked 
signs of illicit unions and adultery. 

The pointed hand is the hand of the great lovers, of 
the lovers who charm and seduce, of admirable and 
showy mistresses; but in marriage it is a sign of vicious¬ 
ness. 

This hand likes to act according to its own free will, 
it has an absolute need of liberty, independence and love. 

If the pointed hand wants peace in its home life, it will 
do well to marry a conic hand which, above all others, 
is the hand of conciliation. 

The “philosopher’s knot” and the material knot lend 
order, wisdom and moderation to this hand; yet even 
with a large line of the head and long fingers, they can¬ 
not give it complete stability. 

The Idle, Voluptuous and Pleasure-Loving Hand 

It is among the pointed hands that we encounter the 
essentially idle voluptuous and pleasure-loving one, the 
hand of those who wish to enjoy, of the women irresist¬ 
ibly attracted by the lure of amusement; the voluptuously 
indolent women of the demi-monde , ardently desiring 
every kind of sensual pleasure, always in search of new 
sensations, which they love, and which they sample with 
delight. 

This pointed hand, which is among the handsomest 
known, is plump, as though creased along its back with 
pretty little dimples. 

Its skin is white, a dull white. It seems never to soil, 
does not redden in the air, and appears insensible alike 
to the influence of heat and cold. It denotes egotism, 
insensibility and hard-heartedness. 

Its mount of Venus is well-developed and lined, its 
powerful, fleshy palm indicating sensual and material 
appetites. 


THE HANDS 


9i 

The thumb, as a rule very short, indicates lack of will 
power and utter absence of logic. 

The fingers, smooth and pointed, without knots, and 
filled out at their base (the seat of material pleasure), 
reveal an intuitive nature, impressionable, and inclined 
to make mistakes; since the short thumb precludes will 
power, resolution, logic and reasoning. 

Since this hand is unprovided with any check which 
might moderate its tendencies and instincts, it is bound 
to be fatally and irresistibly drawn into the whirlpool 
of its own insatiable desires and passions, and material 
and voluptuous appetites. 

The woman with an idle, voluptuous and pleasure- 
loving hand is especially dangerous when, instead of a 
short thumb, she has a large one or one of normal length; 
that is to say when she has will power, tenacity and 
reasoning ability. For, if she then takes possession of 
a weak man, devoid of energy, she absorbs, magnetizes 
and destroys him. He becomes her prey, and she may 
lead him into ruin and even into dishonor. 

Disposition of the Pointed Hand 

The Smooth , Pointed Hand .—The smooth, pointed 
hand is that of the poet, artist and inventor—apt at in¬ 
spiration and divination; it will love the fine arts because 
it has a taste for form and elegance. 

It will incline to the side of romance as long as it 
lives, and will never choose truth or nature as a guide. 
This hand will not live the material life; it will have good 
taste developed to an excessive degree, and while be¬ 
lieving in its own sincerity and in the truth, will always 
dress and alter the latter. It will have ideas which it 
will be unable to put into practice. 

The Pointed Hand with “Philosopher’s Knot .”—Those 
whose pointed hands have a “philosopher’s knot,” are 


92 


WHAT YOUR HAND REVEALS 


condemned to a perpetual struggle between inspiration 
and analysis, between inspirational art and calculated art, 
between religious tendencies and the spirit of controversy 
which, in its need of independence, tends to create a re¬ 
ligion of its own for itself. 

This knot in the pointed hand gives us Utopians with 
nebulous ideas, who, so long as they are not powerful, 
are inoffensive beings, dreamers or supermen of thought. 
Yet, when by some mischance they come into power, 
they may become dangerous, and turn into monsters 
without belief or reason, entirely at the mercy of their 
impressions at the moment, and their own wish and will. 

The Pointed Hand with the “Philosopher*s” and the 
Material Knot .—The pointed hand with both the “phi¬ 
losopher’s” and the material knot loses many of its 
tendencies because of the counteracting influence these 
two knots have upon it. 

It will have artistic aspirations, ceaselessly stifled by 
calculation and positivism; yet, since no organ ever loses 
its rights and qualities, it will add invention to calcu¬ 
lation. 

This hand will make discoveries which it can outline 
itself, but which will have to be perfected by the square 
hand, and put into play by the spatulate, knotted hand 
with a firm, hard palm. 

A List of Names of Famous “Pointed Hands” 

In politics: Robespierre. In painting: Raphael, Peru- 
gino, Fiesole, Correggio, Antonio de la Gandara, and the 
imaginative painters. 

In poetry and literature: Milton, Shakespeare, Schil¬ 
ler, Goethe, Swedenborg, Chateaubriand, Musset, Alex¬ 
ander Dumas the elder, George Sand and Victor Hugo. 

Victor Hugo, that genial French poet, had smooth and 


THE HANDS 


93 


pointed fingers in the full flush of his creative career. 
Only later did his fingers grow conic and knotted; did 
the “philosopher’s knot” make its appearance, and the 
material knot develop. 

This is something which frequently happens, and which 
we have observed in the case of a number of people 
whom we have long known and watched. Time, age 
and the kind of intellectual work done may call forth 
the “philosopher’s” and the material knot on the fingers, 
and their extremities may also change: the pointed finger 
may turn conic, the conic finger square, and the square 
finger slightly spatulate; but knotted fingers never grow 
smooth, nor spatulate fingers square, nor conic fingers 
pointed. It is easier to grow material than it is to 
progress from the material to the ideal. 

§ iii. The Square Hand 

The square hand is that of reason and command. It 
stands, first of all, for right and duty, and its device 
might be expressed by the famous: “God and my right.” 

The pointed hand, as we have said, emits theories and 
ideas, and makes inventions which it does not know how 
to handle. The square hand takes them up, organizes, 
perfects and regularizes them, and puts them in shape 
to be used. That is its role. It is the hand of the engi¬ 
neer, of the administrator, of the teacher, of the student, 
of the practical thinker and the popularizer. 

Nature has endowed this hand with qualities of serious 
value, above all useful ones, since it possesses thought, 
reflection, the spirit of justice, order and good conduct, 
a love for the right, sense of duty, clear perception, and 
truthfulness (Fig. XXVI). 

The person with a square hand is a good philosopher, 
without illusions, looking existence straight in the face, 


94 WHAT YOUR HAND REVEALS; 

self-possessed, and not intimidated by the struggle of 
life. 

Before all positive, practical, deductive, and methodi¬ 
cal, he cultivates reason and order in his ideas and in 
matters in general, is active and not afraid of work. He 



is strict with regard to rules, forms, conventions and 
discipline. 

He has no romantic imagination, no idle day-dreams; 
he is altogether genuine and actual. He prefers science, 
politics and philosophy to literature. 

He has little individual initiative; his conceptions are 



THE HANDS 


95 

slowly, but clearly and surely, arrived at; and when he 
has come to a decision, nothing can stop him. 

He is authoritative and likes to command, does not 
suffer or yield himself to any influence, and is absolutely 
his own master. 

He is aware of his worth, of his rights and of his 
duties. He holds injustice in horror, is fond of all that 
is just and right, and jealous of his freedom and inde¬ 
pendence. 

He says what he thinks frankly and openly, and ex¬ 
pects others to tell him the truth. 

Should you need to talk to him, to take up any mat¬ 
ter at all with him, it would be well, if you want him to 
hear you to the end, to be exact at your appointment, and 
then speak clearly and frankly, and precisely as well as 
concisely, for he never has time to lose. 

According to Desbarolles, very square fingers, seeking 
exact justice before all else, insist on eating whatever 
they may have paid for, even though they cannot down 
it, they want every dish for which they pay delivered 
to them, and in evidence on the table. It is their right, 
and they insist upon it. At times they make themselves 
ill rather than lose that for which they have already paid. 
They demand that an agreement be carried out to the 
letter, especially if they show the ancestral signatures of 
Mars and Saturn, which indicate contempt for opinion. 

Too square fingers are at times a drawback in real 
life, since exaggerating the spirit of justice, and their 
estimate of their own value and their rights, they avoid 
taking any steps which might look like currying favor, 
and are thus placed at a disadvantage and in a position 
of inferiority as regards all their less scrupulous com¬ 
petitors and adversaries. 

Square fingers are a strong counteractant for too vivid 


96 WHAT YOUR HAND REVEALS 

an imagination. In fact, even with a head-line descend¬ 
ing toward the mount of the Moon, and lined in addition, 
which indicates an exuberant imagination, a man may 
dominate this mystic, imaginative effervescence, and 
profit by it; it is even a good conformation in the case of 
the poet or artist, especially with a good line of the sun 
(line of Apollo). 

Square hands with the “philosopher’s” and material 
knot belong to a person who wants to do too well, who 
overpasses the mark, who pushed reasoning to argu¬ 
ment’s most subtle excess, and has a mania for order. 
Hence he is insupportable, fidgety, eccentric, and nearly 
always avaricious. 

D’Arpentigny has drawn a pen picture of Guizot the 
historian and statesman, who had square hands with 
large knots, for us: 

“He is one of those retrospective spirits whose lamp 
throws all its rays backward. They lose themselves in 
those details which demand the secrets of the living from 
the dead, and for whom the past hides the present. 
Brought up in academic circles, he has their conceit and 
pedantry. Two things are antipathetic to him: war, be¬ 
cause it casts into the shade all talkers sterile in deeds 
(seeing that the square fingers are not those of men of 
action, and action must be left to the spatulate fingers), 
and the people, since he was not able to impress them 
as being a great man merely because his intelligence was 
great.” 

Disposition of the Square Hand 

The Smooth, Square Hand .—The man with a smooth, 
square, well-proportioned hand will be a strong man; he 
will have a liking for the moral, political, social and 
philosophic sciences. 



THE HANDS 


97 


He will cherish the arts, because of his smooth fingers ; 
but those arts based on nature and truth, rather than on 
the imagination, because his fingers are square. 

He will appreciate literary form, rhythm, symmetry 
and arrangement. 

His opinions will be just rather than great. He will 
have a gift for business, positive ideas, and a sense of 
conduct. 

In his investigations he will show but little enthusiasm, 
because of the instinct for reason indicated by his square 
fingers; yet their smoothness will give him inspiration, 
and this inspiration will always be accompanied by 
reason. And, passing from cause to effect, he will dis¬ 
cover by deduction from consequences what the man with 
pointed fingers invents by inspiration. 

There are more square hands than spatulate hands in 
France, that is to say, more brains organized for the 
theories of science than adapted to carrying them out. 

The Square Hand with the “Philosopher's” Knot .— 
The square-handed man with a “philosopher’s” knot 
maintains all tendencies toward exactitude: he sees justly 
but coldly; he can always support himself by reasoning. 
He will reason about everything, art included, will see 
life clearly, and above all the true and the useful. 

His love of independence will lead him to fight and 
revolt against all who seem to him to be unjust, ex¬ 
treme, or exceeding what has been generally agreed 
upon as reasonable. 

Square Hands with the “Philosopher's” and the Ma¬ 
terial Knot. —The square-handed man with both the 
“philosopher’s” and the material knot will be fond of: 
science, study, history, botany, archeology; and he will 
excel in jurisprudence, grammar, arithmetic, calculus, 
mathematics and agriculture. 


98 WHAT YOUR HAND REVEALS 

He will be clever at all the practical sciences and all 
trades, and will always prefer the real and positive to 
the ideal. He will make an excellent cashier, one exces¬ 
sively orderly, meticulously arranging and labeling every¬ 
thing, and fanatically obedient to rule and usage, whose 
symmetry he will admire. 

When composers of serious music and mathematicians 
have this square hand with the “philosopher’s” and the 
material knot, they can only attain success by the aid of 
calculation. In order to tell them apart the line of the 
sun or of Apollo, which is more strongly marked in the 
case of the artists than in that of mathematicians, must 
be consulted. 

Some Famous “Square-Hands” 

In literature: Boileau, Voltaire, Proudhon, Alexander 
Dumas the younger, Paul Hervieu. 

As statesmen: Louis XIV, Vauban, Turenne, Guizot, 
Fallieres, Clemenceau. 

In painting and sculpure: Holbein, Albrecht Diirer, 
Le Poussin, Leopold Robert, Corot, Antonin Mercier, 
Rodin the Master, all true painters and sculptors. 

On the stage: Frederic Lemaitre, Got, Leloir, Mmes. 
Rachel, Adelina Patti, Marie Laurent, Emma Calve, 
Andral, Megard, Marthe Mellot, Sara Bernhardt. 

§ iv. The Conic Hand 

The conic hand is the hand of intuition and of reason, 
the philosophic hand. As a type it is akin to the pointed 
and the square hand, whose qualities it shares without 
sharing its defects. The conic hand has less order, less 
perseverance and slowness, less affection, less need of 
truth than the square hand, and it also has a less lively 
intuition and a less exuberant imagination than the 


THE HANDS 


99 

pointed hand; yet it unites the qualities of both types 
by mixing intuition and imagination with reason. 

This hand is marvelously lucky and well endowed 
from the point of view of its tendencies. It is met with 
in persons of the greatest merit; which by no means 
implies that the conic hand is necessarily that of a genius. 



Assuredly not; nevertheless, its abilities are very varied, 
and aside from pure mathematics, it has all the chances 
of success in its favor, given hard work and perseverance 
(Fig. XXVII). 

Intelligent, witty, philosophical, positive and methodi¬ 
cal, the man with a conic hand has a sense of beauty, 



100 WHAT YOUR HAND REVEALS 


of plasticity; he appreciates the arts, literature and 
poetry, and takes an interest in everything. 

Headstrong, yet not obstinate, he is the first to admit 
himself mistaken if the occasion warrant, a notably rare 
quality. 

Kindly, well disposed, of a rather easy character, he 
makes friends, takes pleasure in doing favors, obliging 
people, and making charitable gifts. 

Full of indulgence for the faults of one person, he is 
able to recognize the virtues of another. 

He has a horror for discord and discussion, wishing 
to see good understanding and harmony only reign 
around him, hence he is often found in the role of the 
mediator and conciliator. The presence of conic hands 
in a gathering is always a sign of union and harmony. 

A friend of order, of well-being and comfort, he is 
entirely competent to manage his home and his business, 
to balance his budget and steer his ship with skill and 
dexterity. 

Gay, tender, affectionate and sentimental, his nature 
is one that does not age, and he remains young in char¬ 
acter, spirit, heart and temperament. 

Disposition of the Conic Hand 

The conic hand, representing the happy medium be¬ 
tween the pointed and the square hand, drawing its 
qualities and defects from the one and the other, will 
vary greatly in disposition, and if it have good lines, it 
may make its own choice of the career that will best suit 
it, taking into account, of course, the smooth or knotted 
fingers, which denote different tendencies. 

All hands which show the “philosopher's” knot are 
fond of algebra and geometry; smooth fingers have no 
fondness for figures. 


THE HANDS 


IOI 


Some Famous “Conic Hands” 

We give the names of some well-known characters 
with conic fingers, as follows: 

In literature and poetry: Moliere, Regnard, La Fon¬ 
taine, J.-J. Rousseau, Lamartine, Janin, Emile Angier, 
Catulle Mendes, Sully-Prudhomme. 

In the sciences: Berthelot. 

In painting: Horace-Vernet, Delaroche, Meissonier, 
Diaz, Gerome. 

On the stage: The two Coquelins, Mmes. Dejazet Galli- 
Marie, Bartet, Jane Granier, Rejane, Roger-Miclos, 
Aino-Ackte, Berthe Bady, Arlette Dorgere, Duse, Su¬ 
zanne Demoy, Felyne, Lender, Lantelme, Simone, Geor¬ 
gette Leblanc-Maeterlinck, Andree Mery, Prince, Marthe 
Regnier, Robine, Second Weber, Cecile Sorel, Miss Loie 
Fuller. 

In politics: Paul Deschanel. 

§ v. The Spatulate Hand 

The spatulate hand is the hand of instinct, the hand 
of action at any cost, which sees and puts movement into 
everything (Fig. XXVIII). 

“The spatulate hand,” says d’Arpentigny, “is beyond 
doubt a native of those zones where climatic rigor and 
relative sterility of soil make locomotion more obligatory 
than in the south, and where the weakness of man is 
protected by action, movement and the practice of the 
arts. 

“Resolute rather than resigned, the spatulate hand, 
in order to struggle against physical obstacles, has re¬ 
sources unknown to the conic hands. These last, con¬ 
templative rather than active, prefer, especially in the 
south, the ills of nature to the hardships of labor. 


102 WHAT YOUR HAND REVEALS 


“The self-confidence of men with spatulate hands is 
extreme. 

“Their aim is abundance not, as in the case of ele¬ 
mentary hands, the merely essential. 

“They possess an instinctive feeling for the positive 



xxvm 

in life; and they dominate the world of matter and 
material interests by reason of the natural intelligence 
which is their heritage. 

“Devoted to manual labor, to action, and gifted, in 
consequence, with active rather than delicate senses, it 
is easier for them to be constant in love than it is for 





THE HANDS 


103 


those whose hearts turn to the poetic, and who are in¬ 
fluenced by youth and by beauty’s lodestone of charm 
rather than by duty and habit. 

“The great travellers, the great navigators, the great 
hunters, from Nimrod to Hippolyte and ‘Leather Stock¬ 
ing,’ have all been celebrated for their continence.” 

In Brittany, the spatulate is the dominant form of 
finger, and herewith follows the delightful portrait he 
draws of the Breton hands: 

“Encumbered with broken-down retainers and impor¬ 
tunate dogs, the dwelling-places of the lesser Breton 
nobility exhale, as at the time of Duguesclin, a perma¬ 
nent odor of cattle and manure. 

“As far removed from original thought as a Chinese 
painter is from the laws of perspective, beyond his com¬ 
prehension, this nobility, which, I believe, is ancient, 
which limps, brags, is at home as regards all that con¬ 
cerns strong-backed nags and thick-set terriers, and 
iknows nothing else, has spatulate hands.” 

This portrait of the spatulate hand is an admirable 
one, and absolutely exact. 

In fact, the person with a spatulate hand has the gift 
of utilitarian activities; but there is nothing reflective 
about him; he is altogether impulsive. He has illimitable 
self-confidence, and this often destroys him. Nothing, 
no matter how marvellous, astonishes him; but he has 
ingrained respect for strength, admires all its products, 
and never fails to go into ecstasies before obelisks and 
carved or uncarved monoliths, whose quarrying, trans¬ 
portation and setting up rouse in him thoughts of physical 
effort. And he admires great works or triumphs of in¬ 
dustrial mechanism which are to his liking and please his 
spirit. 

Tiresome, egotistical, practical, but unpoetic; more of 


io 4 WHAT YOUR HAND REVEALS 

an artisan than an artist, vain and haughty, he has no 
doubts regarding anything he does, and remains con¬ 
vinced that he does it better than others. If he be an 
artist, he shrinks from nothing, and is audacity and 
activity personified. 

In the North, where spatulate and square hands pre¬ 
dominate, the artist is effaced by the artisan. In Italy, in 
Spain, and even in France, the artisan is effaced by the 
artist. In the North there is greater opulence than luxury; 
while in the South there is greater luxury than opulence. 

A glutton rather than an epicure, dainty dishes are a 
matter of indifference to the man with spatulate fingers. 
He is fond of opulence, likes to let people know that he 
is wealthy, but does not appreciate luxury. 

His need of movement, exertion and action, drive him 
to lead an outdoor life and to indulge in physical exer¬ 
cise, and lead him to look upon a sedentary life and 
office-work with holy horror. 

But little inclined to arrangement, he compromises be¬ 
tween order and the appearance of order; puts things in 
their place when he has the time, and prompted mainly 
by his fondness and need of movement. 

Very independent in temperament and character, he 
dreams only of liberty—for himself—wants to do as he 
chooses, and is always ready to rebel against any kind of 
authority. If, with his disposition, he also has a long and 
large thumb, he becomes the anarchist, conspirator and 
revolutionary of every epoch. 

When his hand is hard, very spatulate and smooth, he 
will be a tyrant as regards activity and movement, a 
fanatic of positivist science, full of doubt, mobility, and 
excessive independence—but always on his own account. 

Whenever he has an opportunity, he will give evidence 
of his spirit of revolt and rebellion; will act in person; 


THE HANDS 


105 


throw himself bodily into the scuffle, appear where the 
blows fall thickest and the rioting is most intense. He 
will be the man of action. 

When, on the contrary, the hand is soft, very spatulate, 
and smooth, it will denote a mystic, an Utopian. The 
activity of the spatula is then directed toward the brain, 
since the soft hand (idleness) makes the body inactive. 
He, too, will be an independent, a rebel in theory, above 
all—and in society these are the most dangerous of in¬ 
dividuals. He will remain comfortably installed in his 
study, sitting at ease in his arm-chair, while he writes in¬ 
cendiary pages, or he will attend committee-meetings and 
public rallies, and frequent saloons and bars, creating 
disturbances by means of his speeches and writings, driv¬ 
ing others to revolt, setting them in motion, and only 
taking part as a spectator in the movement he has un¬ 
chained. 

The spatulate hand is subject to attacks of spleen; 
it has its moments of despair, often causeless, its black 
imaginings and thoughts of suicide. 

The spatulate hand with short nails has the spirit of 
contradiction and teasing developed in the highest degree: 
it detracts where others praise, and praises where others 
detract, and this, very often, quite indifferent to the fact 
that it is contradicting itself. 

The spatulate hand, like the pointed hand, derives great 
benefit from the “philosopher’s” and the material knot, 
which compel it to reflect and reason before acting. 

Disposition of the Spatulate Hand 

The Hard and Smooth Spatulate Hand .—The man 
with a hard, smooth, spatulate hand always looks at the 
practical and useful side of things. He is skilled in busi¬ 
ness, and is born dexterous, acquiring knowledge later. 



io6 WHAT YOUR HAND REVEALS 


He has an instinctive understanding of life as it is, an 
imperious need of movement, activity, bodily agitation, 
locomotion, and is almost always engaged in some ma¬ 
terial occupation. 

He is a lover of all forms of violent exercise, and of all 
sports: fencing, the chase, riding, autoing, aviation. He 
is a tireless walker, eating up the miles, fond of mountain 
climbing, voyages, exploration. He approves of all means 
of locomotion, and goes—on the earth, in the water, 
through the sky—wherever the action of the body carries 
out in practice the works of the mind. 

He dreads neither rain, snow, heat nor cold, gallantly 
supporting fatigue and privation with a good grace. He 
lies down on the ground without complaint, and rests 
from one labor by beginning another, for he cannot stay 
idle. 

He has a talent for calculation, for the mechanical arts, 
administration, law, the positive above all else. Hence 
his characteristic aptitudes lead him toward all that rep¬ 
resents activity and movement; the mechanical and in¬ 
dustrial arts, navigation, war, commerce and agriculture. 

Because of his smooth fingers, he will have passion, in¬ 
spiration, instinct. He will love movement and introduce 
it in everything; in his style, his ideas, his art, be it paint¬ 
ing, music or literature. He will be a historian of wars, 
a composer of military marches, a painter of battle scenes. 
His will be the art which moves and expresses itself by 
voice and gesture; but his works will shine rather by 
reason of their skill than by their soulfulness. 

Soft, Spatulate Hand .—The person with a soft, spatu- 
late hand, especially with a “philosopher’s” knot, has a 
very active imagination, makes many plans, and is in¬ 
clined toward the marvellous, and toward self-deception. 
He is indolent, bodily, because of his soft hand; yet since 


THE HANDS 


107 

the spatulate instinct exists despite this, and gives him a 
liking for movement, he will be fond of spectacles involv¬ 
ing action, of noise and conversation. Hence, he will take 
pleasure in finding a comfortable place wherever some¬ 
thing is going on, at festivals and fairs, taking satisfaction 
in seeing others parade, move about, work, and tire them¬ 
selves. He is a profound egotist, and might well sing: 

“’Tis sweet to not do anything 
While ’round us all are laboring.” 

He likes to travel, but dreads fatigue, and, if he cannot 
secure a comfortable carriage, auto, or sleeping-coach, 
prefers to remain at home. He appreciates canoeing 
when others row; and he takes pleasure in reading about 
great voyages, whose heroes have the most startling ad¬ 
ventures, feverishly following the course of the intrepid 
explorers who traverse oceans of ice and torrid deserts 
in the midst of terrific dangers, braving savage tribes, 
undergoing privations of every kind, and running the 
gauntlet of the most extraordinary perils. 

The Spatulate Hand with the “Philosopher’s” Knot .— 
The person whose spatulate hand bears the “philos¬ 
opher's” knot examines facts, practical ideas, politics and 
religion. His love of independence betrays itself in move¬ 
ment, and in every other way. He repudiates all that is 
not positive and comfortable. He regards expansiveness 
and tenderness with suspicion, and sentiment plays but a 
small part in his life. 

If he be an artist, his art is instinct with movement and 
realism. 

He is ambitious and everything arouses the mistrust 
of his reasoning and positive intellect. 

“At the beginning of Protestantism,” says Desbarolles, 
‘‘the spatulate finger with 'philosopher's' knots were, by 


io8 WHAT YOUR HAND REVEALS 


reason of the knots, inclined to doubt; and because of the 
spatulas, which urged them to movement, were made in¬ 
clined to embrace a new faith. The revocation of the 
Edict of Nantes, in driving them into exile, robbed France 
of her most distinguished mechanicians and scholars. 
England was able to attract them and profit by so doing.” 

The Hard Spatulate Hand with the “Philosopher*s’'* 
and the Material Knot. —The person with a hard, spatu¬ 
late hand, with both the “philosopher’s” and the material 
knot, will merge reason and realism. He will cultivate 
physical strength and the genius of calculation and, in 
consequence of his fondness for movement and those of 
the exact sciences capable of practical application, will 
be an engineer, a mechanician. He will give movement 
and life to machines and cause them to function; he will 
invent mechanisms, utilize steam, air, water, electricity, 
will set autos rolling and airplanes flying. He will be 
found everywhere—on the earth, on the sea and in the 
air, where he can expend his energy and set to work 
what has been brought forth by his mind. 

He will have an innate sense for all tangible things, an 
intuitive knowledge of life as it is, for the practical, useful 
and physically perceptible side of the science of matter. 
He will like the natural and experimental sciences, the 
physical arts, administration and the law. 

Among those with spatulate fingers of this type were: 
Napoleon III, Lamennais, Fernand Labori. 

Among painters: Rubens, Rembrandt, Jordaens, Bouf- 
guereau. 

On the stage: Faure, of the Opera , and Antoine. 

§ vi. The Mixed Hand 

The mixed hand is that in which the shape of the 
fingers is not regular, that is to say, in which one or two 



THE HANDS 


109 


fingers are shaped differently from the others. When 
such is the case, the finger or fingers in question always 
have the particular meaning which is their specific attri¬ 
bute, and which we know, having already studied it. 


§ vii. The Elementary Hand 


This hand is one we meet with in country districts, and 
deserves mention. It has obtuse, thick, massive fingers, 



XXDt 


of approximately the same size at their extremities and 
at their base. They indicate a nature in which instinct 
dominates the intellect. Such a hand is rarely capable 
pf adroitness or delicacy (Fig. XXIX). 

This hand, which d’Arpentigny calls the elementary 
hand, has: “large fingers, devoid of suppleness, a trun¬ 
cated thumb, often turned back and a palm (and this is 





iio WHAT YOUR HAND REVEALS 

its most striking and characteristic sign) of excessive 
breadth, thickness and hardness. 

“These elementary hands, in Europe, are meant for 
toil, for the care of stables, and the long succession of 
hard tasks for which the confused insight of instinct 
suffices. They are meant for war, so long as no question 
of personal prowess is involved; for colonization, so long 
as it is merely a matter of mechanically watering a foreign 
soil with their sweat. 

“They are governed by custom, and they have more 
habits than they have passions. Enthusiasms are un¬ 
known to them, for these elementary hands denote heavy 
and indolent senses, a slow imagination, an inert soul, 
and profound indifference. 

“Among the Laplanders, they are greatly in the major¬ 
ity, and escape the ills of the polar regions through sheer 
inertia. 

“Organs insensitive to such a degree can only transmit 
imperfect ideas to the brain. The visible man is no more 
than the image of the man invisible; as is the body, so 
is the soul, and vice versa.” 

As insensible to kindness as to severity, to oppression 
as to independence, this elementary hand tends toward 
fatalism, absolutism, superstition, to all simple and nar¬ 
row beliefs. 

These natures, controlled by instinct, cannot get any¬ 
where unless it be under the guidance of a master. Left 
to their own resources, they have little initiative, idly 
cowering down in their misery, or, if they have some 
material resources, abandoning themselves to drunken¬ 
ness, and sinking to the level of brutes. 

People with elementary hands easily permit themselves 
to be mastered, and when they come under the guidance 
of ambitious and opportunist characters, may become in- 


THE HANDS in 

struments for the gratification of their ambitions and 
passions. 

To keep them in the right path, they should receive 
a serious education, acquire the habit of working, and be 
controlled by a strong yet supple hand in order to prevent 
their becoming disorderly. 


CHAPTER VII 


THE MOUNTS 

The mounts are those protuberances, more or less 
accentuated, which may be seen at the root of the fingers, 
and at the percussion of the hand, whose development is 
varied in the case of each individual. The percussion is 
that side of the hand opposite the thumb, which is used 
in striking a blow with the fist ( percutio —I strike). 

These mounts, seven in number, are (Fig. XXX) : 

The mount of Jupiter, or of the index; 

The mount of Saturn, or of the medial; 

The mount of the sun (or Apollo) or of the annular; 

The mount of Mercury, or of the Auricular; 

The mount of Mars (in the middle of the percus¬ 
sion) ; 

The mount of the Moon (at the base of the percus¬ 
sion) ; 

The mount of Venus, or of the thumb. 

The names given these mounts, so far as we are con¬ 
cerned, are only allegorical names, descriptive labels, 
having nothing in common with astrology or the occult.' 

§ i. General Observations on the Mounts 

The mounts placed at the root of the fingers sum up the 
aptitudes and instincts inherent in each of the fingers; 
they serve as their syntheses. It is, in a measure, from 
the mounts that the fingers derive their individual char¬ 
acter, their properties and their forces, just as the plants 
112 




THE MOUNTS 


113 

draw their special virtues and strength from their life- 
root. 

In the mounts and on the nerves found in them, there 
is a larger or smaller aggregation of Pacinian corpuscles, 



which serve as the power-condensers of the hand’s inner¬ 
vation, and act as so many electrical power- and storage- 
hatteries. 

When the mounts are prominent, they invariably indi- 








11 4 WHAT YOUR HAND REVEALS 

cate activity, superabundance, and, at times, even a 
plethora of electricity and vital vigor. 

The more or less pronounced projections or elevations 
of the mounts announce a greater or lesser degree of 
power in the qualities and instincts attributed to them. 

When the mounts are raised and extended in height 
or in breadth, favorable qualities and propensities are in¬ 
dicated; but when they are gathered up, forming bold 
projections and sometimes actual peaks, then a super¬ 
abundance of intelligence and a genuine aptitude for 
some art, some definite science, or some transcendant 
taste or liking, and even very characteristic passions are 
indicated. 

Mounts which are found just where they should be, 
full and united, indicate that qualities attributed to them 
are present. 

Flat mounts disclose a vegetative existence, a lack of 
aptitudes, a relative absence of passions, a want of 
strength; since the mounts are the reservoirs of pro¬ 
pulsive power. Yet we must not forget that true force 
is gentle, and that weakness is very often violent. 

Slightly depressed mounts indicate a being without 
passion or intelligence. 

Hollow mounts indicate the opposite of aptitudes; they 
show the defects of their corresponding qualities, and if 
they are covered with spots, denote want of good luck. 
Persons of the lower orders in particular, and who are 
not likely to rise higher, are apt to have hollow mounts. 
A hollow hand is always an indication of much bad luck. 

Mounts only indifferently developed reveal aptitudes 
of little importance. 

Mounts developed without excess reveal the aptitudes 
in all their perfections; they belong to the best-balanced 
natures. 



THE MOUNTS 


ii 5 

Highly developed mounts indicate an excess of the ap¬ 
titudes proper to each mount, and excess, even in virtue, 
is disorder. There is sometimes but a hairs-breadth be¬ 
tween genius and madness. A genius is a being endowed 
with exuberant faculties or greater passions who has the 
strength and energy needed to subordinate them to his 
reason and will. A fool is at times a superior being who 
has been unable to direct his faculties and subordinate 
them to his sane reason. 

Excessively large mounts, especially if they show 
great radiation, i.e., if they are covered with lines, pre¬ 
dispose to sickness and always indicate it. 

Rays on the mounts lend even those of only medium 
development, and those which are flat, a nervous energy 
greater than if they were excellently well developed; yet 
in this case, the lines must be ascending ones. 

A vehemently marked mount may attract a neighboring 
one and form one elevation with it, and in this case we 
must before all take into consideration the influence of the 
mount which attracts and predominates. 

When one mount is the strongest, and throws all the 
others into the shade by its relative development, it will 
dominate the individuality, regulate life; yet there will 
be no danger if the other mounts are reasonably well 
proportioned. In the opposite case, they become, in a 
manner, the subject, satellites and tributaries of the prin¬ 
cipal mount, living only in and through it. At first glance, 
we may see which mount is the strongest, and hence 
which is the dominating passion: ambition, science, art, 
commerce, imagination, love. “A dominant passion,” 
says Chateaubriand, “extinguishes others in our souls as 
the sun makes the stars disappear in the splendor of its 
own rays.” 

If, for example, the mount of Jupiter, the seat of pride 





n6 WHAT YOUR HAND REVEALS 


and ambition, dominates all the rest, demeasurate am¬ 
bition and excessive pride will rule, and the other mounts 
it dominates will serve it exclusively, each as its means 
and aptitudes allow. Saturn will bring success; the Sun 
seduction by formal beauty and the arts: Mercury will 
lend the aid of its intelligence and eloquence; Mars will 
proportion audacity and resignation; the Moon will 
supply imagination; and Venus kindliness, grace, and the 
desire to please. 

When one single mount stands out, the mount of Mer¬ 
cury, for instance, one may well fear that the instincts 
of the owner of the hand will lead him to steal, especially 
if the mount be furrowed by mingled lines traversed by 
a cross. If, together with this the mount of Mars is ex¬ 
uberant, and the thumb marble-shaped, its owner will 
have the instincts of a criminal as well as a thief. It goes 
without saying that education and will power may combat 
these terrible instincts; and one of chirology’s reasons 
for being is that it warns, points out and calls attention 
to such things in advance. 

Mounts which are misplaced share in the defects and 
qualities of those mounts toward which they incline. 

The lines, which are the sensitive and intelligent part 
of the mounts, are the whip-lashes of the aptitudes and 
modify the action of the mounts. 

§ ii. The Mount of Jupiter or of the Index Finger 

The mount of Jupiter is below the index finger, the 
finger which points out, commands and menaces; it in¬ 
dicates all that relates to ambition, honors or domination. 

When developed without excess, it reveals a noble, 
praiseworthy and elevated ambition, which seeks attain¬ 
ment by way of labor and merit; it presages honors, 
•denotes frank gaiety, religious fervor minus mysticism, a 


THE MOUNTS 


117 

love for nature; and announces happy marriages and love 
matches. 

When excessively developed, it indicates excessive 
pride, the need of command, the desire to shine, love of 
domination at all costs, and religious exaltation and 
superstition. 

When absent or depressed, a servile character, a lack 
of dignity and self-respect, a want of nobility, and a trend 
toward vulgarity, egoism and irreligion are indicated. 

United and outstanding it indicates happiness, pleasure 
and a calm and comfortable life. 

The mount of Jupiter inclining toward that of Saturn 
denotes serious religious aspiration, academic ambitions, 
and the desire for success in the sciences, in accord with 
the interpretation of the other signs of the hand. 

It sometimes happens, though rarely, that a very favor¬ 
able mount of Jupiter—as in the hands of Victor Hugo 
and Sara Bernhardt—completely fills the valley of the 
mount of Saturn, the extreme of back luck, in order to 
enchain, strangle, cast down and annihilate it, and there¬ 
by making sure of success in all things, even in enterprises 
seemingly the most daring and desperate. 

On the Mount of Jupiter 

One or more clean-cut, ascending lines are always ex¬ 
cellent, indicating success and good fortune. 

Rays crossing the mount always denote domestic griefs, 
misfortune in the family. Victor Hugo had this fatal im¬ 
print: his brother died in a mad-house; he himself was 
exiled; his daughter Adele, when quite young, was the 
victim of an adventure which caused the loss of her 
reason; he lost his son-in-law, Charles Vacquerie, and his 
daughter Leopoldine on the same day, a squall capsizing 
their boat as they were returning from an outing at 


n8 WHAT YOUR HAND REVEALS 


Candebec; his son Charles died suddenly of cerebral con¬ 
gestion; and his other son, Frangois-Victor, succumbed 
to an attack of fever. 

Dots or points indicate fallen pride, and a position lost 
or about to be lost. 

A grille denotes the linking of favorable qualities and 
conjunctions inspired by this mount, egoism, a desire 
to shine, domination and a leaning to superstition. 



A triangle indicates aptituae for the diplomatic sci¬ 
ences in a long-minded way. 

A well-marked cross is always a lucky sign, and an¬ 
nounces a happy marriage and wedded life. 

A star is above all the most favorable sign, and de¬ 
notes : satisfied ambition, honor, happiness in love, a pre¬ 
destination for great things, unexpected elevation and— 
when this star is joined to the cross of union beneath— 





THE MOUNTS 


119 

a marriage or union with a person of a social rank and 
position far superior to that which one occupies. This 
sign is definitive and never lies, and its exactness has been 
proven a number of times (Fig. XXXI). 

§ iii. Mount of Saturn or of the Medial Finger 

The mount of Saturn is situated below the medial 
finger, and represents one’s qualified fate or destiny—we 
do not admit the doctrine of fatalism, which amounts to 
the denial of free choice—probable or possible destiny or 
fate, which may be modified by our faculty for choosing 
our resolutions before putting them into practice, by our 
energy and our will power, which last is the universal 
moving force, for good as well as ill. 

Compact, full and lineless, it denotes an untroubled life, 
a calm and tranquil destiny, without either pains or 
pleasures; it may also indicate prudence, sagacity and 
success in spite of all, if unmarked by any sign of fatality. 

Protruding—which is decidedly rare, since this mount 
does not often project—it denotes a serious, sober and 
thoughtful character, grievously bitter scepticism, spleen, 
gloomy thoughts, a taste for solitude, love of silence, 
contempt for life; suicidal obsession, a religious trend 
toward the rigid and ascetic, and the gnawing of remorse. 

Depressed or absent; a frivolous character, one in¬ 
capable of application and of studies in any way serious, 
and an insignificant or unlucky life is indicated. 

The mount of Saturn, as it inclines either to the right 
or the left, indicates clearly the instinct which should be 
fought against or the aid which it gives. 

When it deviates toward the mount of Jupiter, ac¬ 
cording to Desbarolles, it is “ambition getting the better 
of science, the desire to shine in a serious way, to obtain 
a reputation for austerity, to conquer fame as a scholar 


120 WHAT YOUR HAND REVEALS 


without meriting it. It also denotes a fame or reputation 
mingled with misfortune, the two drawn to one another 
by excessive pride.” 

Inclining toward the mount of the Sun, or Apollo; a 
being whose studies, power of mediation and perseverance 
are attracted by the arts, literature, painting, music, archi¬ 
tecture, the stage; but he will bring to their cultivation 
the melancholy of his godfather Saturn. If he be inclined 
to literature, he will write pages filled with sadness and 
disillusion; if he paint, his colors will be gloomy, his 
effects forced; if he turn to harmony, he will prefer 
learned, rhythmic music, devotional music, funeral 
marches; if he be a comedian, he will concern himself 
with details, seek calculated expression, effects prepared 
in advance; but will never be simply and frankly merry. 

When the mounts of Saturn and of the Moon are the 
ones most developed in the hand, they reveal prudence 
and poltroonery. 

On the Mount of Saturn 

One or more ascending straight lines always announce 
good luck, success or happiness. 

One or more dots or points, ill luck. 

A triangle indicates aptitudes for the mystic, occult 
and shadowy sciences. 

A cross stands for ill-omened mysticism. 

A star is always a menace. It announces ill-luck, in¬ 
curable disease, paralysis or a luckless death. If the star 
be plainly marked, it fortells an assassination. Nearly 
all criminals who ascend the gallows or sit in the electric 
chair bear this stigma. 

A multitude of lines, and lines which cross and recross, 
horizontal, oblique, chopped, forked or broken by bars, 


THE MOUNTS 


121 


indicate serious annoyances, perils, misfortunes; hence 
one should always investigate what other lines and signs 
may supply to counterbalance and oppose this evil in¬ 
fluence. 

§ iv. The Mount of the Sun ( Apollo) or of the Annular 
Finger 

The mount of the sun lies below the annular finger; 
it denotes glory, fortune and artistic tendencies. 

Well, but not excessively developed, says Desbarolles, 
“it means a liking for the arts (literature, poetry, music, 
painting), success, glory, intelligence, celebrity, genius, 
enlightenment, all that shines and makes shine; it means 
hope, belief in the attainment of immortal fame, serenity 
of soul, the beauty which compels love, the grace which 
charms the heart; it means religious amiability, tolerance, 
glory, celebrity and wealth. ,, 

When developed to excess, “it means a love for gold, 
for display and expense, a liking for rich fabrics, celeb¬ 
rity at any price and, in consequence of linear modi¬ 
fications, curiosity, misery, shame, stubborness in ill suc¬ 
cess, fatuity, levity, loquacity, fondness for trifling talk, 
base envy, sophistry and inclination for lying paradox.” 

Depressed or absent, it denotes a character inimical to 
the arts, gross, lacking sense for the good and beautiful, 
and any feeling for harmony, as well as a life as empty 
and monotonous as a sunless day. 

Compact, although united, it announces intimate joy, 
inward happiness, and a life calm but inglorious. 

The mount of Jupiter (ambition), the mount of Saturn 
(fatality) and the mount of Mercury (science) inclining 
toward the mount of the Sun, announce that art is the 
principal object in life. 



122 


WHAT YOUR HAND REVEALS 


On the Mount of the Sun 

The line or the lines of the Sun, when they rise to end 
on the mount, are veritable lines of good fortune, signify¬ 
ing glory, love of art, celebrity, wealth, success and dis¬ 
tinction, all due to personal merit. 

A crowd of rays in disorder indicate an exuberant im- 



XXXII 


agination, a presumptuous character, and a very frivo¬ 
lous brain. 

Oblique lines crossing the line of the Sun, in both 
hands, denote strife, obstacles, change of situation and 
reverses. If they are to be found only in one hand, they 
guarantee ultimate success, but at the price of great hard¬ 
ships and struggles, and heavy labor. 

A star announces riches, fortune, successes which 
bring no good fortune and do not result in happi¬ 
ness; and very often denote great danger from firearms, 







THE MOUNTS 


123 

wounds or death (the life line indicating whether death 
will result). General Boulanger had this fatal sign. 

A cross or a point denotes glory deflected or attacked, 
non-success in the arts and in fortune, and, in many cases, 
disease of the eyes. 

A grille is always an indication of vanity, foolishness, 
the desire for unreal fame, error, loquacity, and impo¬ 
tence or exhaustion of artistic inspiration. 

A triangle announces science in art and great artistic 
endowments. 

A little island at the base of the mount of the Sun, and 
on the line of the Sun, announces success, and even 
celebrity, but as a consequence of adultery. 

Pits or holes either at the point of junction or on the 
mount itself presage renal diseases (Fig. XXXII). 

§ v. The Mount of Mercury or of the Auricular Finger 

The mount of Mercury is below the auricular or little 
finger, and denotes intelligence, eloquence, commerce, 
medicine and the natural sciences. 

Developed without excess, it implies a keen and ob¬ 
servant intelligence, what is known as intellect, which 
is not always reason. According to Desbarolles, it be¬ 
stows the gift of science, knowledge of a superior 
world, of intellectual labor, compelling eloquence, com¬ 
merce, intelligent, honorable speculation, glorious for¬ 
tunes, industry, inventions, promptness in thought and 
action, agility, love of travel, aptitude in the occult 
sciences and alchemy, and in all that lies beyond the 
bounds of the purely human (Fig. XXXIII). 

Strongly developed, even when the hand be that of an 
artist, or a man about town, it denotes common sense, 
knowledge of business and ability to succeed in it, and 


I2 4 WHAT YOUR HAND REVEALS 

when the thumb dominates, it imposes its ideas upon 
others. 

Developed to excess, it denotes cunning, falsehood, per¬ 
fidy, shameless gambling, bankruptcy, discredit and pre¬ 
tentious ignorance. 

Depressed, or absent below the little finger, it indicates 
the negative type of life, a lack of aptitude for anything 
scientific or commercial, a mind closed to suggestion, 
stupid or naively simple. 

We should make a mental note of the fact that the rays 
or small lines ascending a mount, even though the latter 



be flat, give the mount in question the same qualities as 
if it were developed. 

When flat on the percussion of the side of the hand, 
it indicates a person who knows little of business, is dis¬ 
interested, and does not care for money. 

Inflated at the side, owing to a protuberance thrown 
out toward the percussion, a protuberance resembling a 
bone jutting from the hand, it denotes extreme cunning, 
avidity, love of money and thirst for gain. 

When the mount of Mercury inclines toward the mount 
















THE MOUNTS 


125 


of the Sun, it denotes the union of science, eloquence and 
art. If inclined toward the percussion, it indicates posi¬ 
tive tastes and habits, and inclinations for commerce and 
industry. 

Persons who have aptitudes for the natural sciences, 
nearly all physicians, women, girls, those who are fond 
of medicine and interested in it, care for the sick and 
watch over their health, and have medical intuition or 
aptitude, show ascending vertical lines, strongly traced 
in a serrated effluvium on the mount of Mercury (Fig. 
XXXIV). 

Persons provided with this typical medical sign-manual 
have a very well-developed mount of the Moon, are in¬ 
clined to worry about their health, take great care of 
themselves, doctor themselves with medicines, and often 
imagine themselves to be ill. They are the prototype of 
the imaginary invalid. 

Unions, marriages, widowhood and children are 
registered on the percussion of the mount of Mercury. 

On the Mount of Mercury 

A cross is far from being a sign of honesty; on the 
contrary it denotes great inclination toward kleptomania, 
and always may be relied upon. 

A star, especially in the hand of an unscrupulous per¬ 
son means rascality, theft and dishonor. 

A dot or point denote some matter which has gone 
wrong. 

A grille or bar indicates falsehood, a tendency to steal 
and a misuse of one’s intelligence, knowledge and sci¬ 
ence. 

A triangle reveals the adept diplomat and the skillful 
politician. 


126 WHAT YOUR HAND REVEALS 


§ vi. Mount of Mars 

The mount of Mars begins below the mount of Mer^ 
cury. Together with the mount of the Moon, it divides 
the percussion into two nearly equal portions, from the 
heart-line to the bracelet. It represents the struggle of 
resistance. 

According to Desbarolles, when not developed to ex¬ 
cess, it denotes: courage, calm, presence of mind in 
danger, resignation, self-command, resolution, force of 
resistance, and, at the given moment, impetuosity. 

Even an excessive development of this mount is favor¬ 
able. Hence a man who possesses a well-developed 
mount of Mars is apt to preserve his presence of mind 
amid all of life’s trials, and steadfastly resist the impulses 
of his passions. He can control his rage and always re¬ 
mains master of himself, especially if a large thumb sup¬ 
plies will power. Power of resistance corresponds to the 
shield-bearing Minerva of the ancients; yet we must not 
forget that Minerva bore a lance as well. 

A very full and expansive mount of Mars lends a short 
thumb quiet force of resistance, resignation, especially 
if the mount or the plain of Mars is not furrowed with 
lines and if squares appear in either. 

Very large and lacking lines, decision, firmness, ten¬ 
acity, even contempt for popular opinion, are indicated. 

Depressed and flat, a flabby, cowardly, childish being, 
without character, entirely lacking in resistant power, 
courage and presence of mind is indicated. 

Persons who have a strong marked mount of Mars 
may look forward to numerous energetic struggles during 
their life-time. 

A very strongly developed mount of Mars, a predomi- 


THE MOUNTS 


127 

nant mount of Jupiter, and a turned-back thumb indicate 
prodigality and ostentation. 

The mount of Mars and of the Moon often meet, with¬ 
out either being too large, smooth and lineless; one would 
think the two formed but a single mount. When this 
is the case, indifference combined with intelligent resig¬ 
nation—one of the forces of the world, since “All comes 
to him who waits”—is indicated. Resignation and resist¬ 
ance are the greatest forces in a struggle. Do we not in¬ 
variably see resignation and mental serenity triumph over 
all the difficulties of life? 

And when a good thumb is joined to these two mounts, 
then we have the greatest power of all: a firm will and 
logic combined with the most carefully reasoned and, 
above all, most energetic perseverence in action and in 
resistance. 

On the Mount of Mars 

Lines on this mount are always bad signs. Morally 
they indicate an irritable and violent character, and physi¬ 
cally a tendency toward bronchitis and laryngitis. 

A star is the sign of a serious wound by a fire-arm, or 
of death in war. 

A bar or grille foretells a violent death. 

A triangle denotes aptitudes for the art of war and 
military science. 


§ vii. The Plain of Mars 

The plain of Mars, or palm of the hand, the prolonga¬ 
tion and overflow of the mount of Mars, stands for active 
strife, and contains the indications for the battle of life. 
It is the focal point of the life of instinct, the parade- 
ground, the grand general headquarters of decisions. It 



128 WHAT YOUR HAND REVEALS 


is there, in point of fact, in the hollow of the hand, 
that the inclinations and tendencies of the mounts, of 
ambition and fatality, the sciences, imagination, resist¬ 
ance, struggle and love come to get the word of order, 
and whence they draw their activity, energy and action. 

The plain of Mars is always valleyed. Higher or lower, 
ribbed, rayed and furrowed with rays and lines, it in¬ 
dicates the reasons, consequences and even the results of 
the dominant passion. 

When smooth and unwrinkled it denotes an easy life, 
devoid of struggle. 

A hollowed-out plain of Mars is a very bad augury, 
and denotes an entire lack of energy and firmness in 
life’s struggles. 

The subsiding of the plain of Mars and the obliteration 
of the lines inscribed on it are always signs of weakness, 
illness and coming death. 

Lined and ribbed, especially with a cross, it is a sign 
of a quarrelsome individual, who seeks every opportunity 
to dispute, brawl and fight, and instinctively enjoys so 
doing. He is the born fighter, the more so if his nails 
be short. 

The vehement projection of an extended mount of 
Mars—that is to say, of the mount of Mars, indicating 
the struggle of resistance, and of the plain of Mars, the 
struggle of action—denotes injustice, insolence, tyranny, 
curtness, anger, violence, quarrelsomeness, insult, defi¬ 
ance, and a cruelty which drives the blood to the brain 
at the slightest emotion, and rouses it to irritable ferocity 
through its energy, even waking a thirst for blood and 
in most cases suggesting crime. 

A mount and plain of Mars excessively developed, with 
a short, hollow headline and a short thumb, indicate sub¬ 
jection to all those passions which lead to madness: the 


THE MOUNTS 


129 


extreme violence which shatters and destroys every ob¬ 
stacle ; the law of the dagger. The crimes committed are 
in most cases the result of passion and a lack of energy 
and will power to combat them. 

A triangle in the plain of Mars indicates military glory. 

A cross in the palm, says Desbarolles, denotes relent¬ 
less, uninterrupted warfare, war with and against all. 
It stands for a burning, feverish ardor for a struggle in 
which no quarter is given, one terrible and unending, to 
which a hard hand adds its devouring activity. 

A large star in the plain of Mars, united to a line 
whose point of departure is the mount of Venus, indicates 
the exact time at which a catastrophe will occur. The 
Empress Eugenie had this sign with the indication de¬ 
noting her forty-fifth or forty-sixth year (Fig. XXXV). 

A palm covered with rays always indicates a person of 
excessive emotional susceptibilty, whose life is greatly 
agitated or who, without cause, himself invents subjects 
for alarm and inquietude. 

§ viii. The Mount of the Moon 

The mount of the Moon, which runs from the mount 
of Mars to the bracelet, at the percussion, represents im¬ 
agination, caprice and revery; it reflects our state of mind 
as the water of the pool, under the influence of air and 
wind, reflects the state of the atmosphere. 

Developed without excess, according to Desbarolles, 
it denotes imagination, tender melancholy, chastity, senti¬ 
mental poesy, elegiac mood, love of mystery, solitude, 
silence and revery, vague desires, meditation, harmony in 
music, aspirations toward another world, and betokens 
an imagination which supports whatever may be its pos¬ 
sessor’s dominant aptitudes or tastes. 

Excessively developed, it represents capriciousness, an 


130 


WHAT YOUR HAND REVEALS 


ill-regulated imagination, and incessant irritation; and, 
together with lines which emphasize their effect: cause¬ 
less despair, continual discontent, excessive movement, 
changing desires, sadness, superstition, fanaticism, error, 
the vapors and the blues. 

Depressed or absent, a lack of poetic ideas, aridity, a 
coldness of character and lack of enthusiasm which only 
understands what is real and positive, is without illusions 
and unwilling to allow others to cherish them is denoted. 
It stands for a mind inclined to despair; a character 
judging the weak harshly, and rigorous with those who 
do not succeed. 

In order to indicate good fortune, the mount of the 
Moon should be raised, and more protuberant and pro¬ 
jecting toward the bracelet than in the middle. 

When but little developed, yet lined, it denotes lasci¬ 
vious curiosity and a liking for sensual pleasure. 

Rayed and streaked with small lines, it indicates a 
queer, fanciful character, capricious and irritable, great 
inspiration and imaginative effervescence, a taste for 
curious shapes, and a disposition to torment one’s self 
without cause, and take fright at shadows. If the heart¬ 
line be the most important line of the hand, the torments 
endured will come from the heart; if the mount of Jupiter 
dominate, the difficulties arising will be a result of pride 
and ambitious desire; if it be Mercury, the fears experi¬ 
enced will be prompted by business; if Venus, then the 
annoyances undergone will be caused by love, etc. 
People whose mount of the Moon shows rays and furrows 
are as a rule much subject to presentiments, prophetic 
dreams, hallucinations and visions, especially when pro¬ 
vided with the line of intuition running from the Moon 
to Mercury (Fig. XXXVI). 

Harmonious, with large eyes, and well-developed, it 


THE MOUNTS 


131 

denotes an extensive memory, especially with a clearly 
marked headline. These signs always indicate great ap¬ 
titude for the study of foreign languages. Persons thus 
gifted have a memory for words and names; they take 
real pleasure in equipping their mind with words and 
phrases, without even trying to get at their meaning; they 
speak with volubility, and at times even with a certain 
elegance in enunciation and diction. 

A very well developed, smooth mount of the Moon, 
says Desbarolles, a mount of Mars thick and unwrinkled, 
a resistant and snugly plump thumb indicate a love of 
moral and physical repose. If the hand be soft, a horror 
of noise, annoyances, and violent desire for a position of 
independence, in order to rise above the worries of life 
is denoted. It also stands for the love of harmony. 

On the Mount of the Moon 

A star fortells a sickness in which water plays a part, 
death by water, in a wreck or under other circumstances. 
This is above all the case when the star occurs on the 
line of travel on the percussion of the hand. Lantelme, 
that charming and original artist, had this sign of ill luck, 
and was drowned while crossing the Rhine (Fig. 
XXXVII). 

A cross also indicates danger upon the water, but 
above all: exaltation, and a tendency to exaggerate in 
word and idea. 

An island stands for clairvoyance, an aroused som¬ 
nambulism, presentiments, inspiration, and the prophetic 
spirit. This sign could be seen in the hand of Alexander 
Dumas the Younger. 

A triangle denotes intuition, good sense, reasoning 
power, knowledge in mysticism, and maritime science 
(Fig. XXXVIII). 


132 WHAT YOUR HAND REVEALS 

A bar or grille indicates sadness, inquietude, continual 
discontent, nervous spasms, excitement, exaltation, and 
an imagination always looking at the gloomy side of 
things. A bar or grille in the case of a woman usually 
indicates an ungovernable and immodest imagination 
(Fig. XXXIX). 

The fact is that on the Lunar mount we find inscribed, 
above all, the signs of imagination—that faculty so pre¬ 
cious when one knows how to apply it intelligently, and 
so dangerous when one is unable to control it. 



XXXVB xxxvm XXXDC 


Imagination, properly speaking, has no actual line; 
yet it possesses several arranged in file on the extreme 
outer side of the hand, on the percussion at the elevation 
of the mount of the Moon. In order to see these lines, 
which denote that their owner has an imagination more 
or less vivid, the hand must be looked at in profile. The 
imaginative faculty will be the more strong and active 
as the lines are more or less numerous and accentuated. 

Voyages are also to be read on the percussion, and 
are indicated by rays running along horizontally from 
the mount of the Moon, on the edge of the hand, outside 



















THE MOUNTS 


i 33 


the percussion, and turning toward the back of the hand. 
The voyages will be longer or shorter in accordance 
with the length of the lines. 

All the lines running from the mount of the Moon, 
in order to turn toward some other mount, in most cases 
toward the mount of Saturn, are called: “lines of pro¬ 
tection,’’ because they announce good fortune and success 
due to chances and patronage. 

§ ix. The Mount of Venus or of the Thumb 

The mount of Venus, the most noticeable among the 
mounts, and which takes up the greatest amount of space 
in the hand, is composed of the root of the thumb itself; 
it appears as though encircled and enclosed by the line 
of life. 

The mount of Venus, which symbolizes tenderness, 
affection and love, represents the great moving force in 
life, life’s very essence; instinctive affection, the move¬ 
ment of the soul and the senses, those inclinations dic¬ 
tated by the laws of nature. It stands for the localiza¬ 
tion of attraction toward the sensual pleasures, toward 
voluptuousness, the blindest of passions which leads 
fatally to the greatest disillusions, the most terrible suf¬ 
ferings, and the worst misfortunes if one does not suc¬ 
ceed in dominating it by will power and reason. 

The line of life which encircles the mount of Venus 
is that which leads us from the cradle to the grave; hence 
this mount synthesizes life, love and death. 

“Love and death may well go hand in hand, 

Most awful and most dear of all we feel; 

Before the twain the whole world’s forced to kneel, 

In prayer and trembling waiting their command.” 


i 3 4 WHAT YOUR HAND REVEALS 

Sentimental love is inscribed on the line of the heart, 
and sensual love on the mount of Venus. It goes with¬ 
out saying that the one completes the other. 

Without the mount of Venus all the passions are arid 
and egotistical; while with good instincts voluptuous 
passion may develop into tenderness and loving friend¬ 
ship. 

A harmonious mount of Venus, neither too strong nor 
too weak, furrowed with lightly accentuated lines, in¬ 
clines its possessor toward the pleasures of the senses, 
and denotes good will toward all, charity, tenderness, 
love of beauty and grace, of the plastic arts, and beauty 
of form, a taste for melody in music, of grace in the 
dance, a desire to please, a need of gallantry and co¬ 
quetry, and for loving and being loved. 

Compact, almost lineless, it denotes charity, coldness, 
equanimity in love, and often, a short life, for vigor 
in love and in life are identical. 

A weak, flat and hardly noticeable mount of Venus 
denotes little sensual appetite. 

When depressed, a lack of energy, of tenderness, little 
activity, little soul for art, and coldness and impotence 
in love are indicated. 

Very well developed, without being rayed, it is an in¬ 
dication of philanthropic charity and natural good spirits. 

Developed to excess and rayed, it discloses great 
amatory strength, debauchery, licentiousness, depravity, 
shamelessness, coquetry, vanity, a thoughtless and in¬ 
constant character, and indolence. 

Very thick, bulky, hard and firm, it denotes brutal pas¬ 
sion. As a rule, when a person has fingers distended at 
the third phalanx, an exuberantly large Venerean mount, 
and is heavily fleshed, it is a sign of material appetites, 
love of comfort, and sensual pleasures and appetites. 


THE MOUNTS 


135 


The real libertines in love, according to Desbarolles, 
are those whose mount of Venus is feeble, but strongly 
rayed, especially if they also wear the “girdle of Venus,” 
since their desires are greater than their strength, and 
they are ceaslessly changing mistresses in order to tempt 
appetite with the charm of novelty. 

The mount of Venus is always made more material 
by the rays which cover it. Numerous lines on this 
mount invariably denote an amorous temperament, which 
takes fire at the slightest excuse. 

The instinctively amorous person whose preferred 
peccadillo is love itself, is always amiable, gracious, oblig¬ 
ing and gallant. His hand will show a harmonious 
mount of Venus and a fine heart-line. 

The debauchee is irritable, curt and egotistical, his 
mount of Venus is covered with many bars, and his 
heart-line is thin and spare. 

Fast women and debauchees in most cases have a 
thumb with a very short first phalanx—will power; a 
somewhat longer second phalanx—logic; and a protrud¬ 
ing and very well developed mount of Venus. Under 
these conditions, the material instincts rule, while logic 
alone can offer any aid; yet in the struggle between pas¬ 
sion and reason, reason is very weak when will power 
is non-existent. 

Those whose mount of Venus leads them in quest of 
love and affection, especially when they have a very 
pointed index finger, a rayed hand, and the “girdle of 
Venus” (which denotes exaltation for good or for evil), 
are in nearly all cases at the mercy of two absolutely 
contrary currents, confounding two entirely different 
things in their consciousness: love, or love of the crea¬ 
ture. They are the impassioned spirits who become 


136 WHAT YOUR HAND REVEALS 

either great lovers or fervent religious or mystical 
devotees. 

For as we have shown in considering the types influ¬ 
enced by Venus, persons sincerely devout and mystic 
very often bear in their hands the signs of the strongest 
amatory powers. 

A powerfully developed mount of Venus, when it 
dominates, takes away much of his melancholy from 
Saturn, often going so far as to make him amiable and 
cheerful. 

A very narrow mount of Venus and a life-line close 
to the thumb, in the case of a woman usually denote 
sterility or laborious child-birth. 

On the Mount of Venus 

It is on the mount of Venus that are inscribed all the 
signs which have to do with tenderness, affection, and 
love, and their consequences. 

Points or dots indicate sickness, wounds or accidents. 

An island within the life-line upon the mount is a sign 
of adultery. 

A triangle denotes calculation in love; nearly all 
women who follow love as a profession bear this sign 
(Fig. XL). 

A bar or grille indicates lascivity, obscene pleasures, 
a liking for degenerate pleasures. Nevertheless, when 
there is a resistant thumb, a good line of the Sun, and 
a straight head-line, the bar—while denoting a nervous 
irritability which excites the imagination—may be very 
useful in supplying an increase of productive vigor and 
ardor, setting in action forces which may lend efficacious 
aid to the dominating aptitudes and tastes (Fig. XLI). 

A cross indicates a love unique and fatal, unless an¬ 
other cross can be found on the height of Jupiter which, 


THE MOUNTS 


i37 

by its lucky influence turns it into a love, unique and 
happy (Fig. XLII). 

A star quite at the foot of the mount announces a 
misfortune caused by love, in most cases by married love. 
Yet, according to Belot, a single star on the mount of 
Venus may denote a person who is fortunate in love. 

A star tied to another star on the line of the head by 
means of a line indicates a law-suit, a separation or a 
divorce. 

A number of stars indicate the death of relations or 
of those dear to one (Fig. XLIII). 



A few lines between the thumb and the beginning of 
the line of life announce dissensions, disagreements and 
quarrels with relatives, and family difficulties (Fig. 
XLIV). 

Four lines at an equal distance one from the other, 
starting from the root of the thumb and entering the 
mount of Venus, indicate inheritances and successions 
to property in the second stage of life. When these 
lines, instead of being placed above are situated toward 
the end of the life-line, it means that the inheritances or 
successions will come at the beginning of life. When 






















138 WHAT YOUR HAND REVEALS 

there are only two or three lines in place of four, the 
inheritances will be less important. And when these 
lines cut across each other at their extremities, the in¬ 
heritances will give rise to law-suits and difficulties (Fig. 
XLV). 

A ladder denotes poverty due to women. 

Several lines intersecting each other in the peak of 
the Venerean mount, toward the jointure of the thumb 
and upper angle, indicate a fall from a horse or from a 
carriage, or any other vehicle, or else an accident in the 
mountains on a precipice (Fig. XLVI). 



Straight lines running from the root of the thumb to 
the life-line, and which are crossed upon the mount it¬ 
self, indicate, in the case of a man, that he loves two 
women, and in the case of a woman that she loves two 
men (Fig. XLVII). 

Passing loves are denoted by numerous short, shallow 
lines. 

Serious passions, those which, by reason of the inten¬ 
sity of their affection are sure to leave traces in the lives 
of such as experience them, are set down on the mount 
of Venus in broad, big, strongly accentuated lines re- 
















THE MOUNTS 


i 39 


sembling scars and seams, and are known as “love-lines” 
or “crosses of love” (Fig. XLVIII). 

When the root of the thumb is crossed by one or more 



L 


XLIX 


lines, death by asphyxiation, drowning or strangulation 
is indicated (Fig. XLIX). 

One or two unusually large lines crossing a thumb 
signify that its possessor is in danger of being beheaded 
or assassinated (Fig. L). 













CHAPTER VIII 


THE LINES OF THE HAND 

§ i. The Lines, the Sentient Section of Chirology 

The lines which furrow the palm of the hand, repre¬ 
sent its greater or lesser degree of vitality, of energy 
or, better said, its nervous sensibility; they are the in¬ 
telligent and sentient section of chirology, modifying the 
action due to the mounts and the shape of the fingers. 

The will power which emanates from the brain, the 
passions which react upon the heart, all cerebral impul¬ 
sions, all influences, no matter whence they proceed, are 
reflected in the hand, they register themselves there au¬ 
tomatically, as though upon a photographic plate, by 
means of lines and signs, so that we may read in them 
the events of our life. 

A man’s lines should be more emphasized, more deeply 
graven and more clearly accentuated than those of a 
woman. When the opposite is the case, it denotes an 
effeminate being, dominated by his passions. 

Workingmen’s hands and proletarian hands in gen¬ 
eral, as a rule, have no other lines save the principal 
ones; while men of the world and, above all, women of 
leisure have the palms of their hands covered with lines. 

§ ii. When and How the Lines Are Formed 

The principal lines already exist and may easily be 
distinguished in the hands of the new-born babe. They 
are recognizable even in the hands of children who have 


140 


THE LINES OF THE HAND 141 

died at the moment of birth in their mother’s womb. 
This goes to prove that the lines are formed at the same 
time as the nose, the chin, and the facial features, and 
not at the moment the child is born, as the old chiro- 
mantic astrologers declared. 

Hence, as we enter the world, we bring the book of 
our life with us in our two hands, wherein, unknown to 
us, is set down our destiny, our every action, good and 
bad, our every joy and our every sorrow, in accordance 
with what is written: “And God placed signs in the 
hands of men, to the end that all might know their fate.” 

Hence we may seek in our hands that which God has 
written in them and continues to write in them, day by 
day: the past, the present and the future. 

The annoyances, the chagrins, the great moral up¬ 
heavals, reverses of fortune, the attacks on the organ¬ 
ism and maladies, the accidents which leave their trace 
in face and physiognomy, graving furrows that change 
looks and expression are set down. All these events of 
existence, the indicative reflections, write themselves 
down in the hands, as they do in the face, by means of 
corresponding signs. 

The same holds good of all events of importance: ac¬ 
cidents which are to be apprehended; morbid germs 
fated to ripen and bloom forth at a time more or less 
distant. The epoch of the event and that of its occur¬ 
rence are also written in the hand. 

Powerful impressions, even when made in childhood, 
produce and leave in the hands their stigmata and trace. 

Yet all persons are not endowed with the same sensi¬ 
bility, the same faculty for feeling pleasure and pain, 
for experiencing psychological sentiments and physical 
sensations. The result is that impressions are more or 
less vivid in the case of each individual, and that, con- 


i 4 2 what your hand reveals 

sequently, they grave themselves more or less deeply 
in the brain and from the brain in the hands. It is the 
result of all these impressions which gives birth to all 
the little accessory lines which add themselves to the 
great lines or bar them, which cross and furrow the 
mounts, and form figures of various kinds: stars, 
crosses, squares, points, islands, triangles, bars, etc. 

The lines and signs of our hands are our written 
biography. Memory may fail, oblivion may obscure our 
brain and mind, as it may erase from our heart the im¬ 
portant events of our life; yet the lines traced in our 
hands will always recall them to us. 

§ iii. The Modification of Lines and Signs 

“God/’ who according to Victor Hugo, “in sovereign 
manner thrusts forward, draws in or effaces the green 
and red lines which men trace on their maps of the 
world,” in the same way modifies the lines and signs 
which He has placed in men's hands, changing and ef¬ 
facing them to draw new ones in their place. 

“It would, in fact, be strange,” says Chateaubriand, “if 
man were to arrogate to himself an inalterable change¬ 
lessness, when all nature changes about him: the tree 
loses its leaves, the bird his feathers, the stag his antlers. 
Man alone says: ‘My soul is unmovable: as it is to-day, 
so will it be to-morrow.' Man, whose feelings are more 
shifting than the clouds! Man, who makes a wish only 
to change his mind! Man, who wearies even of his 
pleasures as a child does of its toys!” 

All nature surrounding man changes, and he himself 
must obey the law of change common to all. Just as 
human acts leave their trace in the face, modifying 


THE LINE OF THE HEAD 183 


§ i. Division of the Head-line to Indicate Age and the 
Time of Occurrence of Events 

The division of the head-line which determines age and 
the time of occurrence of events indicated by this line, 



is obtained by drawing a perpendicular line from the 
middle of each finger, index, medial, annular and auric¬ 
ular, down to the life-line, which gives us, respectively, 
the periods of io, 25, 50 and 75 years (Fig. XCVIII). 

In order to ascertain the approximate time when the 
events marked on the line will take place, one need only 







184 WHAT YOUR HAND REVEALS 


make a mental calculation in order to divide each of the 
periods mentioned above. 

§ ii. The Head-line Regarded from Various Points 


of View 


The Perfect Head-line 

When clean-cut, well-marked, standing out in the hand, 
long, straight and without dots, accidental signs or spots, 
lightly descending in the palm toward the mount of Mars, 
while inclining toward the lower part of the hand, and 



terminating on a line vertical with the auricular finger, 
the head-line is perfect. It denotes good judgment, a 
well-balanced brain, judicious, deductive and practical 
reasoning powers, as well as a strong will; for this line, 
in traversing the plain of Mars which is the seat of the 
struggle of action, and resting on the mount of Mars, 
which represents the struggle of resistance, makes its 
possessor conscious of his power, and gives him the calm¬ 
ness and tranquillity which allows him to dare the strug¬ 
gles of life without fear (Fig. XCIX). 

Hence this line gives us the qualities indispensable for 













THE LINE OF THE HEAD 


185 

the struggle: circumspection, constancy, energy and level¬ 
headedness—when the mount of Mars is sufficiently de¬ 
veloped. It also indicates much sense and the ability of 
carrying out arduous mental labors without fatigue. Be¬ 
sides, even with a head-line that is less perfect, one may 
be able to work and produce without fatigue, if one is 
carrying out tasks or doing work in accordance with one’s 
natural aptitudes, especially with a good line of the Sun 
(or Apollo), which makes the work clear. 

The Very Long Head-line, Crossing the Hand Hori¬ 
zontally 

The very-long, straight and sharp head-line, cutting 
horizontally across the hand as far as the percussion, de¬ 
notes an excess of intellect and calculation, and, when 
the fingers are smooth, even avarice, or at least excessive 
economy, presence of mind, egotism, avidity, positivism, 
knowledge of business and, in a word, the practical side of 
life (Fig. C). 

Reason serves as a check to hold in its passions; since 
those who possess a line of this kind, through excess of 
reason or the spirit of economy or avarice, always suc¬ 
ceed in dominating their ideas of pleasure, and even their 
sensual appetites, no matter how violent these may be. 

Corot, the great landscape painter, had a head-line of 
this kind in his hand. His inexorable reason completely 
dominated him, including his heart. He would not con¬ 
sent to unnecessary expenses of any sort; he insisted on 
economy in and for everything. He loved, but only when, 
from his point of view, love was wise and just; otherwise 
he bade his heart be still. 

This line, which gives one control over one’s own self, 
allows its possessor to retain his self-possession under 
difficult circumstances, and to appear tranquil and even 


186 WHAT YOUR HAND REVEALS 

gay. It is the line of strong men and is of great service 
to diplomats. 

M. de Fontenelles must have had a line of this kind in 
his hand, for he reasoned even in love. Thus his mistress 
one day confessed with her own lips that she was untrue 
to him. “Oh, well,” said he, “if we are no longer lovers, 
we will at least remain friends.” Hence M. de Tencin, 
whom the philosopher in question often met, could not 
refrain from saying to him, while laying his hand on his 
breast: “That is no heart you have in there; it is a brain, 
such as you have in your head!” 

When this line is very long, straight, sharp, cutting 
across the hand horizontally as far as the percussion, 
sending out a branch on the mount of Mercury, or curv¬ 
ing back in order to make, as it ascends, a furrow in the 
mount of Mercury, it indicates, in either case, a person 
who is cunning, clever at getting out of scrapes, with a 
ready imagination and an intuition for bringing about 
good opportunities of profit for himself. He will be a 
person with a gift for handling matters that are dubious 
and “under the rose,” fond of money and property, and 
will always be able to “get from under” without regard 
for others. In his case, intellect will control everything, 
and he will be capable of doing anything to attain his ends. 
It is the line of individuals without scruple, in business 
as well as in other respects (Figs. Cl and CII). 

The Head-line Divided into Two Branches at Its 
Extremity 

When the head-line divides at its extremity into two 
branches or forks, one of which continues to run straight 
on while the other descends somewhat toward the mount 
of the Moon, it denotes the faculty of being able to see 
things from a dual point of view and under various as- 


THE LINE OF THE HEAD 187 

pects, according to the cause in question or the needs of 
the moment. It stands for the ability to find pretexts 
and specious reasons for hiding the truth or the point 
really at issue (Fig. CIII). 

This line is to be found in the hands of sophists, and in 
those of people having to do with the law, advocates who 
are often forced to forget their own personality in order 
to assume that of a client whom they defend; of the law¬ 
yers who, by devious means, find in the thickets of legal 
procedure the necessary weapons—incidents, stays of 



proceedings, exceptions and skilful conclusions—with 
which to deal their adversaries many a shrewd blow. 

The forked or branched head-line is also a wonderful 
line for the comedian, and is often found in the hands 
of great actors. It endows its possessor with the gift of 
mimicry, or acting and gesture indispensable to the artist, 
and allows him to double his nature at will, in order that 
he may the more easily incarnate and “put himself in the 
skin” of the character he is representing. 

This fork will also be found in the hands of able 
women, gifted with penetration and perspicacity, who 
make up for the strength which they lack by the resources 
of their intellect. In difficult situations they show im- 


















188 WHAT YOUR HAND REVEALS 


perturbable presence of mind, and admirable self-posses¬ 
sion ; they are equipped with a complete arsenal of appro¬ 
priate replies and suggestions, and, when the necessity 
arises, falsehood comes so prettily from their mouth 
that it is accepted as truth. Wherever they may go, 
women of this type are always at home, assimilating all 
things with great facility, and very quickly suiting them- 
selvs to the tone and pace of the environment into which 
they have been transplanted. 

This forked head-line exerts a greater or lesser influ¬ 
ence, according as the mount of Mercury is more or less 
developed. 



The Head-line Descending on the Mount of the 
Moon 

When the head-line, in place of running straight, de¬ 
scends, after having traversed the plain of Mars, in the 
direction of the mount of the Moon, it denotes a trend 
toward the imaginative, literature, and poetry (Fig. CIV). 

When it descends still lower on the mount of the Moon, 
to the bracelet, it indicates: a love for the mystic sciences, 
occultism, spiritism, and all superstitious practices. 

When the extremity of this line ends in a star, nervous 
maladies, an unbalanced mind and madness are indicated 
(Fig. CV), 














THE LINE OF THE HEAD 189 

When, on the mount of the Moon, the head-line forms 
a cross together with the hepatic line or line of health, 
it denotes exaltation or extravagance in one’s ideas (Fig. 
CVI). 

The Double Head-line 

The sister line of the head-line follows it throughout 
its course, in order to make good, should the occasion 
arise, its breaks and deflects. It is a good augury, which 
announces luck in money matters, a large fortune, in¬ 
heritance or bequest, toward middle life (Fig. CVII). 

The Head-line Joined to the Life-line at the Be¬ 
ginning of the Latter 

The head-line which is joined to the life-line where the 
latter begins, and following its course for some time, de¬ 
notes the union of reason and instinct, as well as timidity, 
and a lack of self-confidence which will be difficult, in 
fact almost impossible, to overcome (Fig. CVIII). 

In this connection, an old treatise on Chiromancy, by 
Romphyle, dating from 1665, says: “Owing to its dis¬ 
position and qualities, you must know that it is beyond 
doubt that the head-line should be joined to the vital line 
or line of life, at the beginning of the latter, facing the 
middle of the index finger and there forming ‘the supreme 
angle.’ When it does, the man in question will be gener¬ 
ous, faithful, talented, magnanimous, and a doer of good 
deeds, for the line indicates perfection, the true quality 
of natural warmth, and the right diffusion of heart and 
brain. 

“When it does not unite with the vital line in ‘the su¬ 
preme angle,’ when there is a certain distance left, it indi¬ 
cates the man who does without the rest of the world, 
hot-headed, disdainful of all, relatives and friends, one 
who insists on all the world doing his bidding, and who 


190 WHAT YOUR HAND REVEALS 

is inconsiderate and faithless—which is denoted by an 
excessive heat tending to dryness. This conjunction 
would be correct (since all the world knows the expres¬ 
sion: ‘hothead’) and renders the man violent, and heed¬ 
less of peril, and this by reason of the organ of fantasy, 
which, owing to this dryness, is in a measure confounded 
with his imagination—he will never see things clearly. 

“The further away from the vital line the natural line 
is situated in the right angle, the more strongly this dry 
complexion is indicated.” 

Hence the first requisite for a good head-line is that it 
rise out of the life-line; and we will proceed to point out 
its advantages and disadvantages, its defects and draw¬ 
backs in this respect. 

A child while young acts by instinct, his reason does not 
guide him to any great extent; he is often imprudent and 
gives way to impulse, he cannot be left to his own direc¬ 
tion, but stands in need of a support, a guide; in this 
respect resembling the growing shrub of a tree; he must 
have a tutor. 

This guide or tutor he will find in a good, compact 
head-line rising at the starting-point of the life-line and 
following its course for some time. In that case, his mind 
and his reason represented by the head-line support each 
other, and progress side by side, and properly balanced, 
together with the life-line, the source of strength and 
health. 

Yet, though the compact head-line has its advantages, 
in giving the brain balance, reasoning power and logic, in 
uniting reason and instinct, and in tempering the digres¬ 
sions of youth, it also has its great disadvantages. 

In fact, it denotes a natural timidity, which is generally 
considered an ornament in young people; yet it is not 
always easy to get the better of this timidity. It also de- 


THE LINE OF THE HEAD 


191 

notes excessive distrust of one’s self and of others, circum¬ 
spection, prudence and reserve, and a want of daring which 
prevents one from coming forward when the occasion 
demands. It plunges its possessor into uncertainty and 
indecision, and causes him to lose and miss good oppor¬ 
tunities, all owing to timidity, indecision and hesitation, 
and above all, to fear of compromise, ridicule, what will 
people say, and because he dare not undertake anything 
lest he do not do it well enough and win success. 

When it reaches this point, timidity is well-nigh a dis¬ 
ease, and throughout life its consequences are the cause of 
lack of success and prosperity, and great mortifications; 
for it is not always enough to be intelligent, well-endowed, 
talented, able and persevering, to be a good worker, to be 
productive and to do good. One must know how to make 
the most of these qualities, to compel recognition for one’s 
work, and never rely upon others for fear of being at the 
end of the line, or, as Theophile Gautier has said: “one 
must know how to gather moss and inflate one’s own bal¬ 
loon.” 

One must struggle against and overcome this timidity 
by all means in one’s power, overcome its influence to¬ 
ward inertia, and, without being conceited, neither under¬ 
estimate nor mistrust one’s self. 

As we have just shown, persons who have a compact 
head-line are incontestably very timid and very mistrust¬ 
ful of their ability; yet there are exceptions to every rule, 
for instance: Spatulate fingers, which are altogether un¬ 
suspicious, and always full of excessive, illimitable self- 
confidence, even when there is a very compact head-line, 
denote that the timidity is only apparent, a false timidity 
which is easily overcome. 

Short nails, with a large head-line, even though it be 
compact, says Desbarolles, and of the Martian type, pluck 


i 9 2 WHAT YOUR HAND REVEALS 

up self-confidence and even audacity when they are per¬ 
fectly at home in their art, industry or business, in a word, 
whatever profession they have chosen. Their critical 
spirit makes them calm and even confident in themselves. 
Only then are they able to act boldly. This boldness is 
the proper kind, since it is not based on an insensate pride, 
but on the consciousness of merit acquired by habit of 
life. It is copper ceaselessly polished until it glows like 
gold. 

A very well-developed mount of Mars may also over¬ 
come timidity (compact head-line), in the case of a 
teacher, a comedian or an orator; for presence of mind 
(Mars) allows him to endure his first failures, failures 
which he expects to suffer; for, little by little, if the 
thumb be large, if there be persistence, Mars will regain 
his empire, and may carry the individual along with him, 
with an energy which increases as he progresses. 

The Head-line Separated from the Life-line at the 

Starting-point of the Latter 

The head-line entirely separated from the life-line pro¬ 
duces altogether different effects from those just re¬ 
corded (Fig. CIX). 

In fact, when the head-line is separated from the life¬ 
line, the head does not advise instinct, and represents 
a life which begins and runs its course without guidance. 
Reason is incapable of resistance, because reason, repre¬ 
sented by the head-line, only exists in an extemporaneous 
and inefficient manner. 

The child thoughtlessly abandons itself to all its 
naughty instincts, the young man wishes to follow his 
inclinations, the mature man his dominant passions; for 
the man with a separated head-line has unshakable con¬ 
fidence in himself and in his star. He has no doubts of 


THE LINE OF THE HEAD 


i93 


any kind, advances rashly and by force, and is subject 
to accesses of involuntary and irreflective frankness which 
he often regrets when too late. He arrives at his de¬ 
cisions promptly and thoughtlessly, makes blunders, is 
often vain and hot-headed, but he has self-possession and 
audacity, and this serves him. 

It must be admitted that very often these people with a 
separated head-line, thanks to their exaggerated self-confi¬ 
dence, their self-possession, their daring, and even to their 
lesser abilities, qualities and knowledge, are able to forge 
ahead more quickly, unless they are guilty of great impru¬ 



dence, than persons who are their superiors in talent, but 
who have a compact head-line. 

In spite of this, these self-confident people might as 
well be advised to sleep on a decision before taking it, if 
they wish to avoid disappointment, and at times, mis¬ 
fortune. 

This separated head-line will be found in the hands of 
nearly all Americans at the head of great enterprises; 
it renders great services to lawyers, orators, artists, come¬ 
dians and clergymen, in a word, to all who address them¬ 
selves to the public which they must impress, by means 
of their confidence and daring, in order to make them 
amenable to their ideas. 

















i 9 4 WHAT YOUR HAND REVEALS 

A turned-up nose, such as many Englishmen possess, is 
almost the equivalent, in the matter of coming to '‘snap 
judgments,” to the separated head-line; yet with less of 
pride and self-confidence. 

The Distinctly Separated Head-line at the Begin¬ 
ning of the Life-line 

When the head-line is separated from the life-line, at 
its beginning, by a large space, the head is quite with¬ 
drawn, and receives no further advice, nor does the in¬ 
stinct ask for any. Each acts as it pleases, and this de¬ 
notes—especially if the head-line be long and red—a 
violent death, love of money, foolishness, stupidity, lack 
of moral sense, cruelty, vanity and thoughtless daring 
(CX). 

The Head-line Long in Leaving the Life-line 
When the head-line, instead of starting below or at the 
life-line, and following it for a time, does not leave the 
life-line until toward the age of twelve or fifteen, for 
example, it means that up to that time the life of the 
person in question has not been accompanied by reason, 
and that intelligence does not actually begin until the day 
when the head-line breaks away from the life-line; hence 
it is a sign of retarded intellectual development (Fig. 
CXI). 

The Head-line Commencing without Touching the 
Life-line 

When the head-line begins without touching the life¬ 
line, but on the same level, leaving only one space, it de¬ 
notes serious eye trouble in youth (Fig. CXII). 


THE LINE OF THE HEAD 


i95 


The Head-line Beginning Below the Medial Finger 
The head-line beginning below the medial finger be¬ 
tokens an obstacle in the development of the intelligence 
(Fig. CXIII). 

The Head-line Ending Below the Medial Finger 
A short head-line always indicates frivolity and lack of 
character. 

When it ends below the medial finger, it denotes: an in¬ 
telligence but little developed, or, at any rate, unreliable, 
little perseverance and sequence of idea, levity of spirit, 



want of order and manners, a short life, and death in 
youth; in this connection consult the life-line (Fig. 
CXIV). 

The Head-line Ending Beneath the Annular 
Finger 

The head-line, when it bends and stops beneath the an¬ 
nular finger, denotes an improvident person, not at all 
positive, without thought for the future, volatile, exceed¬ 
ingly sensual, often changing his mind, more impressed 
by appearances than by real worth, and for whom life is 
merely an excuse for pleasure and enjoyment. It denotes 



















196 WHAT YOUR HAND REVEALS 

coquetry in women, faithlessness in men. This line often 
foretells: a misspent life or one whose promise has not 
been fulfilled, for men; and annoyances and disgusts, for 
women (Fig. CXV). 

A Head-line Cut at the Start 
A head-line cut or interrupted at its beginning, denotes 
wounds in the thighs, maladies of the legs, and wounds in 
the head, in most cases caused by falls (Fig. CXVI). 

The Head-line Formed of Small Fragments 
An indeterminate head-line, formed of small separate 
fragments, denotes a tendency to sick headache or pains 



in the head, and often forgetfulness of past and even 
present things, a sudden lack of memory, a passing am¬ 
nesia which prevents the development of a thought or the 
ending of a sentence which has been begun. It some¬ 
times stands for foolishnesss and stupidity (Fig 
CXVII). 

The Deeply-furrowed Head-line 
Will power is expressed by the depth of the head-line, 
as is also courage and energy (Fig. CXVIII). 



















THE LINE OF THE HEAD 


197 


The Scarcely Marked Head-line 

A slight head-line, scarcely marked, denotes a will 
which is not very intense, lack of sequence in ideas, and, 
when the hepatic line, or line of health is missing, a 
delicate constitution (Fig. CXIX). 

A very slight head-line, feebly outlined, also indicates 
the blues, weakness, languor, and a tendency to become 
lymphatic, as does the line in form of a chain. 

Color 

When the head-line is large and pale, it reveals a lack 
of determination, and an intelligence which is not very 
active. 

When it is red, it denotes a sane will. 

When too red, or livid, it denotes that a rush of blood 
to the head, apoplexy or epilepsy are indicated. 

The Curved and Ascending Head-line 

The curved and ascending head-line is a bad sign, for 
•it anounces that some misfortune is to occur in life (Fig. 
CXX). 

The Twisted Head-line 

The twisted head-line denotes a changeable, aimless 
disposition, a bad disposition, avarice, ill-will, falsehood, 
a tendency to steal, and a poor liver (Fig. CXXI). 

The Poorly Shaped, Indistinct Head-line, Crossed 
with Small Lines 

Poorly shaped, indistinct or hard to visualize, the head¬ 
line is a sign of insanity and cerebral weakness. When 
it is scattered, infirmity and poverty are indicated. 

When crossed by numerous small lines, it indicates sick 
headaches and continual pains in the head at the period 
written on the line (Fig. CXXII). 



i 9 8 WHAT YOUR HAND REVEALS 

The Head-line Broken in Two 
A head-line broken in two fragments or pieces in one 
hand, carries a threat of madness in consequence of a 
disappointed passion, even when the head-line is very 
good in the other hand; yet this diminishes the danger, 
which in that case is no more than a menace of accident 
(Fig. CXXIII). 

The Head-line in Two Superimposed Pieces, Below 
the Medial Finger 

The head-line broken into two pieces, superimposed 
below the mount of Saturn denotes: great misfortune; a 



mortal wound on the head, a broken head, and broken 
limbs, legs rather than arms. This sign often is to be 
found in one hand only. This stigma is nearly always 
found in the hands of criminals condemned to be be¬ 
headed (Fig. CXXIV). 

The Head-line Inclined Toward the Life-line 
The head-line somewhat inclined toward the life-line 
is an infallible sign of happiness (Fig. CXXV). 






















THE LINE OF THE HEAD 


199 


The Head-line Inclined Toward the Heart-line 
When the head-line is too near the line of the heart, 
palpitations, fainting spells, suffocation, and a tendency 
to asthma are indicated. If, in addition, it ends in a fork, 
it denotes dissimulation (Fig. CXXVI). 

The Head-line Joining the Heart-line 

When the head-line rises and joins the line of the 
heart, it denotes that the head is controlled by the heart 
and that the mind will always be dominated by the heart 
and love (Fig. CXXVII). 



If a furrow or branch leaves the head-line and turns 
toward the line of the heart, it denotes that reason will be 
stronger than the heart or than love (Fig. CXXVIII). 


A Branch Pointing Toward the Index Finger 
When a furrow or branch leaving the head-line ends 
in a star on the mount of Jupiter, it foretells that the per¬ 
son in question will be rich and happy in spite of the in¬ 
constancy of fortune. This sign is also a token of extra¬ 
ordinary success. But when this branch rises toward the 
index finger, it stands for vanity and pride (Fig. 
CXXIX). 





















200 WHAT YOUR HAND REVEALS 


An Island 

An island on the head-line is an indication of cerebral 
fevers and maladies, at times hereditary, as well as con¬ 
tinued nervous headaches, whose duration is represented 
by the length of the island (Fig. CXXX). 

Dots 

When the head-line shows: 

White dots, then according to tradition, scientific dis¬ 
coveries will be made. 

Red dots foretell wounds of the head. 



Black or bluish dots presage typhoid or nervous 
fever, or excessive headache at the time and for the dura¬ 
tion represented by the mark and its length on the line 
(Fig. CXXXI). 

A cross apparently leaning, imprinted on the head-line 
forecasts violent neuralgic pains. 

Circles and Half-circles 
According to tradition, as many circles as there are in 
the head-line, so many homicides will there have been 
committed, if the circles be pallid, and so many will there 
be to commit when they are red (Fig. CXXXII). 


















THE LINE OF THE HEAD 


201 


When the circles are not completed, they announce 
danger from injuries or wounds. 

Half-circles announce wounds when they are in the 
head-line; but when they are placed on or against the line, 
they denote discussions, law suits and annoyances. 

These half-circles, when somewhat oval in shape, also 
denote neuralgia and cerebral weakness. 

Crosses 

A cross in the middle of the head-line denotes a mortal 
wound or approaching death (Fig. CXXXIII). 



A small cross at the end of a head-line, either above 
or below it, announces a happy and a favorable fortune. 

When some lines in the shape of a cross occur on the 
head-line they denote wounds of the head which are the 
more dangerous the more strongly emphasized the marks 
are: 

Stars 

A star on the head-line itself annouces madness or a 
very dangerous wound in the head (Fig. CXXXIV). 

A star, says Desbarolles, at the end of the head-line, at 














202 WHAT YOUR HAND REVEALS 


its point of junction with the line of health, going to the 
mount of Mercury, always announces danger in child¬ 
birth, or child-birth more or less painful, which may, 
when the star contains a black dot, entail mental troubles 
as a consequence. A well-defined star foretells danger in 
child-birth or sterility since, as a matter of fact, when the 
organ is inactive it causes child-birth to be painful, and 
where it is altogether inert, it causes sterility (Fig. 
CXXXV). 


CHAPTER XI 


THE LINE OF THE HEART 

“The speech of the heart is a universal language, and all that 
we require to speak and to understand it is sensibility.”— Duclos. 

The heart-line, the third one of the principal lines, is 
that which runs below the mounts, at the base of the 
fingers, in the upper part of the hand; it begins beneath 
the index finger and ends at the percussion. 

The heart-line acquaints us with moral troubles and 
chagrins, the sufferings of love and of the heart, and the 
cardiac affections; indicates degrees of emotion in all its 
forms: sensibility, affability, kindness, tenderness, senti¬ 
mentality, the idealization of love, and informs us as to 
the power and intensity of passion. 

Now, since the passions of the heart are the source and 
explanation of much that happens in life, we believe that 
the study of the emotional character of man and woman 
is, perhaps, more important than that of their physical con¬ 
stitution and their intelligence. The heart, as a matter of 
fact, is the cause of more change of opinion, and renewal 
of opinion than is brought about by reason; it is the 
touch-stone of human nature, the essence of life itself, 
the motive of all actions, the principle of all passions. 

§ i. The Heart-line in Woman and in Man 

The heart-line is generally more eloquent in the case of 
woman than in that of man. Woman’s brain is altogether 


203 


204 WHAT YOUR HAND REVEALS 

similar to that of man, she is man’s equal as regards in¬ 
telligence and cleverness, but she differs from him in the 
disposition of her heart and soul. 

The heart, which is the pivot of the female constitution, 
is the converging point for all her predilections; while 
in man, though the heart often speaks quite as power¬ 
fully, amorous passion in his case is more an organic need. 
‘‘The heart does not follow the senses,” says Jean-Jacques 
Rousseau, “it guides them, and when they go astray, 
shields them with a delightful veil.” 

Gifted with exquisite sensibility, woman often acts 
without reasoning, following the generous promptings of 
her heart, which is all love, devotion and tender sentiment. 
In woman’s case, it is the heart and not the mind which 
gives the impulse. The famous Mme. de La Fayette, 
united in bonds of the closest friendship with M. de la 
Rochefoucauld, once said to the author of the Maximes: 
“He taught me wit and cleverness, but I reformed his 
heart.” Hence, women are well aware that happiness 
comes rather from the heart than from the mind. 

What investigator, no matter how deeply versed, may 
hope to sound the abysses of the heart, and flatter himself 
that he knows it thoroughly, especially the heart of a 
woman, which, as they say, is a mystery one should not 
attempt to explain! 

Yet we may find this explanation by consulting, simul¬ 
taneously, the line of the heart, the mount of Venus, and 
the small lines called: lines of union, of marriage, of 
secret connections, and of amorous crosses, which make 
it possible for us to decipher the most intimate secrets 
of human nature and of the female soul, from the most 
trifling sentimentalities to the most violent amatory 
passions. 


THE LINE OF THE HEART 


205 


The heart-line, accordingly, well deserves the name 
given it, since it reflects all the emotions and manifesta¬ 
tions of the heart. 

A hand without a heart-line should always inspire dis¬ 
trust, especially if the thumb be shaped like a marble! 



It denotes a person without principle or conscience, 
egotistical, faithless, vicious, headstrong, and taking pleas¬ 
ure in ill-doing, and predicts serious accidents, breaking 
and fracture of the bones, accidents due to fire, shipwreck, 
and sometimes a premature death. 





206 WHAT YOUR HAND REVEALS 


§ ii. The Division of the Heart-line to Indicate Age and 
the Time of Occurrence of Events 

The division of the heart-line to determine age and the 
time of the occurrence of the events indicated by the line 
in question, is obtained by dropping a perpendicular line 
to the heart-line from the middle of each one of the 
fingers, auricular, annular, medial and index, in succession, 
which results, respectively, in the periods of ten, twenty- 
five, fifty and seventy-five years. 

In order to ascertain the approximate time when the 
events will come to pass, one must proceed as has already 
been indicated for the head-line, and mentally divide each 
of the periods above noted (Fig. CXXXVI). 

§ iii. The Heart-line Regarded from Various Points . 
of View 

The Perfect Line 

When clean-cut, without island or cross-lines, dots or 
spots, well colored, visible, straight, continuous, not 
deeply furrowed, with or without branches, and starting 
either from the mount of Jupiter or between the index 
and the medial finger, outlining a pretty little furrow for 
the eye to behold up to the percussion, the heart-line is 
a perfect one. 

This handsome line, which reveals ideal affection, con¬ 
jugal devotion, and the impassioned movement of heart 
and soul, is especially noticeable in the hands of French 
women. In all classes of society, women have given and 
still continue to give daily proof that in hospitals and am¬ 
bulances, in the midst of the sick and wounded, in war 
and everwhere else, they can endure the hardest work, the 
greatest misery, without a murmur, and die happy in the 


THE LINE OF THE HEART 


207 

sacrifice they are making for those whom they love (Fig. 
CXXXVII). 

The annals of the French Revolution swarm with in¬ 
stances of noble devotion, of sublime deaths which are 
unparalleled in the history of other nations. Let us men¬ 
tion a few at random from this long list of devoted 
women, a few names immortalized by eloquent pens: 
Mme. Tallien, surnamed “Our Lady of Thermidor”; 
Mmes. Gramaud, Lavergne, de Mouchy, Boyer, Malezey, 
Ruvilly, Desmarets, de Claviere, Payssac* Lefort, and 



Miles. Cazotte and de Sombreuil, who braved death a 
score of times to save their fathers' lives! 

Mme. de Rosambo, on her way to the scaffold, met 
Mile, de Sombreuil and said to her: “You have had the 
happiness of saving your father, and I have the con¬ 
solation of dying with mine. ,, 

Mme. Roland, a woman of lofty intelligence and a great 
heart, devoid of fear, paid with her head for her refusal 
to betray her husband’s hiding-place. This sublime, reso¬ 
lute woman mounted the scaffold uttering the celebrated 
words: “O liberty, what crimes are committed in thy 
name!” 





208 WHAT YOUR HAND REVEALS 


Attention should also be called to Mme. de la Valette’s 
deed of daring, devotion and conjugal affection. General 
Count de la Valette, condemned to death after the “Hun¬ 
dred Days” (1815), was awaiting his execution in the 
prisons of the state. His wife obtained permission to 
visit him in his cell. There she quickly exchanged her 
husband’s garments with her own, and the prisoner es¬ 
caped thanks to this disguise. By this instance of devotion 
Mme. de la Valette saved her husband from certain death. 

Orators whose pathos moves, distinguished criminal 
lawyers, preachers with a penetrating and touching de¬ 
livery, the great dramatic artists, the sublime tragic 
actresses, all bear in their hand a handsome heart-line, 
which brings them the gift of love of form, grace, desire 
to please, kindness toward all, and tenderness, as well 
as the ability to charm, move and touch, to make heart and 
soul weep and tremble with emotion. 

The infallible means of exciting the passions lying dor¬ 
mant in an audience, according to the principles of 
Quintilian and Horace, is to feel them and be impene¬ 
trated with them one’s self: Si vis me flere, dolendum 
est primum ip si tibi, “If you wish to draw the tears from 
my eyes, begin by shedding them yourself.” 

“It is by the heart,” said Jules Fabre, “that men are 
led!” And in fact, the words which appease the multi¬ 
tude, which spur it on, make it reach decisions, uplift 
and carry it away, like all beautiful thoughts as well, 
come from the heart. 

The Heart-line Crossing the Hand, with or with¬ 
out Branches 

When a heart-line, completely crossing the hand, com¬ 
ing as it were, from the back of the hand, below the mount 
of Jupiter, draws an attractive furrow as far as the per¬ 
cussion (Fig. CXXXVIII). 


THE LINE OF THE HEART 


209 


Or else: 

When a heart-line equally long begins on the mount of 
Jupiter, with branches, and ends on the mount of Mer¬ 
cury, also with branches and in both hands (Fig. 
CXXXIX). 

These two great heart-lines, with or without branches, 
denote a person who is loving, affectionate, sentimental 
to excess, very emotional, very impressionable, having too 
much heart, too much sensibility, an ever restless tender¬ 
ness, quick to take offense, and of an extremely nervous 



disposition with regard to everything relating to senti¬ 
ment or heart-impressions. Of an anxious nature, she 
will always conjure up visions of death or disaster, ending 
by making her tender apprehensions turn to realities, and 
imagining that she sees in the face of a son, a husband or 
a lover signs of illness, trouble or worry which do not 
actually exist. 

Persons who have such heart-lines will beyond all doubt 
know the happiness which affection and love proportion ; 
but they will have to resign themselves to inevitable 











2io WHAT YOUR HAND REVEALS 


chagrins, and to the great sufferings which they cause, 
and, in most cases create for themselves. 

Excess in affection and in love lead to tyranny, tyranny 
degenerates into jealousy, and jealousy is a malignant 
poison which embitters life and exasperates the heart. 

“The heart has a kind of reason/’ says Pascal, “which 
reason does not know.” In fact, one meets persons who 
are very loving, very affectionate, who adore their chil¬ 
dren, for example, and overwhelm them with tenderness, 
and yet are unable to understand that the latter, too, feel 
the need of expressing their heart’s affection. It is said 
that the pious Queen Blanche of Castile would rarely 
permit King Louis IX, her son, known as “Saint Louis of 
France,” to remain alone with his wife, Queen Mar¬ 
guerite; and that Saint Louis, though very much in love 
with her, usually deferred to his mother’s wishes. The 
young queen once happening to be in the garden of the 
royal chateau, and seeing some sparrows caressing each 
other, called out to them: “Make haste, you poor little 
birds, I see mother-in-law coming!” 

The heart-line of Lamartine, greatest of elegiac poets, 
traversed the entire hand, and was enriched from begin¬ 
ning to end with a multitude of leaves or branches which 
flowered around it throughout its entire length. It was 
an indication of the most affectionate nature, the most 
loving disposition, which one might imagine; it repre¬ 
sented an exquisite tenderness, an immense love for all 
that was great, all that was noble, all that was beautiful! 

Sully-Prudhomme, that tender poet given to thoughts 
of delicate and profound loveliness, also had a long, hand¬ 
some heart-line, one which at its starting-point, along its 
length and at its end was wreathed with leaves, thus in¬ 
dicating too loving a heart, too great a sensibility, an ex¬ 
quisite tenderness, a love troubled by doubt and uncer- 


THE LINE OF THE HEART 


211 


tainty, and a sentimental and affectionate disposition, but 
one nervous to excess. It was in his sentimentality, his 
sensibility, his imagination and his heart that Sully-Prud- 
homme found his poetic afflatus and his genius. 

One must always be considerate of the nervousness 
and susceptibility of people who have long branched 
heart-lines, since it is very hard for them to change their 
nature, which is excessively emotional, and besides, they 
generally have a predisposition to heart-disease. 

If, together with such lines, the thumb is shaped like 
a marble, it denotes a tendency to hysteria. 

The Large, Pale Heart-line 

The large, pale heart-line indicates an affection calm to 
the limit of egotism, and, if the line is not large, the pale 
heart-line is often a sign of cold debauchery. As we 
already know, all large, pale lines denote a defect, that 
is to say, the opposite of the quality indicated by the 
line. 

The Red Heart-line 

The red, livid heart-line denotes energy in the affec¬ 
tions, whether they be good or bad, an ardent love capable 
of turning to violence, an evil nature or illness, or a bad 
disposition; especially violence in particular. It is often 
to be seen in the hands of criminals. 

The Slight, Delicate and Narrow Heart-line 

The slight, narrow and delicate heart-line indicates ego¬ 
tism, an arid heart, insensibility, envy and at times, in¬ 
constancy and shortness of duration in the affections. 

The Long Heart-line 

The greater or lesser length of the heart-line shows 
the extent of its tenderness, the force or feebleness of 


2i2 WHAT YOUR HAND REVEALS 


the heart’s attachment. When too long, it is a sign of lack 
of order in tenderness. 

The Hollow Heart-line 

When the line of the heart is straight and hollow, and 
crosses the entire hand, it is an indication of cruelty, 
malignancy, and a tendency to assassination. This fatal 
sign is generally to be met with in the hands of parri¬ 
cides and assassins of their blood relatives. 

The Double Heart-line 

The sister line of the heart-line (one very rarely found) 
follows it in whole or in part throughout its length, and 



repairs its ruptures and defects, if it has any. It denotes 
a person susceptible of great devotion in friendship and 
in love, and in the case of women, little ability in the 
treatment of female maladies, and great amorous powers 
(Fig. CXL). 

Dejazet, the celebrated comedienne, who so admirably 
incorporated the French spirit on the stage, and who still, 
at the age of seventy, sang with a clear and incisive voice 
those old songs of Lizette and Fretillon which delighted 
the audiences that hummed them together with her, 










THE LINE OF THE HEART 


213 


Bejazet’s hand showed a double heart-line which indi¬ 
cated her treasures of expansiveness. Contemporaries 
who knew her said that she had one heart-line for her 
friends and another for her lovers. 

The Long Heart-line with Furrowed Mount of 
the Moon 

When the line of the heart is long and cuts across the 
entire hand, it is, as we have just seen, an indication of 
too strong, too vivid, and almost always too jealous an 
affection. If, in addition, the mount of the Moon is 
furrowed and striped with small rays and lines, it denotes 
jealousy pushed to the extreme, and when furthermore, 
the girdle of Venus adds its supersensitive effluvia, the 
very paroxysm of jealousy is foretold (Fig. CXLI). 

The Heart Line Beginning Below the Index Finger 
When the line of the heart makes a direct start in the 
third phalanx of the index finger, it shows that its pos¬ 
sessor is a good man, worthy of all honor (Fig. CXLII). 

The Heart-line Beginning on the Mount of Jupiter 
When the heart-line begins on the mount of Jupiter, 
it indicates idealism in love, is a sign of kindness, and 
a presage of dignity and wealth (Fig. CXLIII). 

The Heart-line Beginning at the Root of the 
Index Finger 

When the heart-line begins at the root of the index 
finger, it foretells losses or misfortune in enterprises. 
People who have this sign should be advised never to 
undertake any speculative or adventurous enterprises, or 
projects promising large returns on an investment, and 
be content with sure investments, without risks, and 
business dealings which they have studied maturely (Fig. 
CXLIV). 


WHAT YOUR HAND REVEALS 


214 

The Heart-line Beginning Between the Index and 
the Medial Fingers 

When the heart-line begins between the index finger 
and the medial, it is an indication of a life laborious to 
its very end, either for the person’s personal satisfaction, 
or because of the necessities of his position. It also pre¬ 
sages a happy love and great good luck (Fig. CXLV). 

The Heart-line Beginning Beneath the Medial 
Finger 

The heart-line beginning beneath the medial finger an¬ 
nounces : little tenderness, not very happy affections, nu¬ 



merous heart disappointments in friendship as well as 
love, especially if it begin quite brutally, without branches. 
It is an indication of an uneasy life. It denotes love by 
way of the senses rather than the heart; and if its pos¬ 
sessor becomes attached to anyone, it will be principally 
because of sensual pleasure (Fig. CXLVI). 

The Heart-line Beginning Beneath the Annular 
Finger 

The heart-line beginning beneath the annular finger 
denotes foolishness and poverty of heart and spirit (Fig. 
CXLVII). 

















THE LINE OF THE HEART 215 

The Heart-line Ending Beneath the Medial Finger 
When the heart-line stops beneath the medial finger, 
it is a fatal sign, predicting aneurism, a short life, and 
an early death (Fig. CXLVIII). 

The Heart-line Ending Beneath the Annular 
Finger 

The heart-line ending beneath the annular finger de¬ 
notes pride, self-contentment and fatuity (Fig. CXLIX). 



The Heart-line Ending Beneath the Auricular 
Finger 

The line of the heart ending beneath the auricular 
finger, denotes greater skill than love in the affections. 
This sign is very bad when it is not compensated for by 
other signs (Fig. CL). 

The Heart-line Stooping Toward the Head-line 
without Touching the Latter 
When the line of the heart stoops in its course toward 
the head-line, without touching the latter, it often de¬ 
notes: hypocrisy, duplicity and an underhand turn of 
mind, but above all it is a sign of a person who allows 
his heart to be guided by his head, or who is able to 
direct his love and make his heart reason, like the Elec- 




















216 WHAT YOUR HAND REVEALS 


tress of Hanover, for instance. Standing on a balcony 
in Venice, one day, with the illustrious French scientist 
Chevreau, the latter pointed out her husband, busy talk¬ 
ing to a very handsome Venetian girl, to the Electress: 
“It makes very little difference to me,” said she, laugh¬ 
ing, “where the Elector promenades his heart all day 
long, provided he brings it back to me at night” (Fig. 
CLI). 

The Heart-line Joining the Head-line Beneath 
the Medial Finger 

When the heart-line inclines and joins the head-line 
beneath the medial finger, it is an indication of severe 
misfortune, and of violent death (Fig. CLII). 



When the heart-line, stooping down, joins the head¬ 
line and the line of life, and forms a St. Andrew's cross 
on the mount of Jupiter, it foretells a union or a mar¬ 
riage which will be the cause of suffering, of chagrin 
or of loss (Fig. CLIII). 

Thus, as we have seen when we studied the line of 
v life, when the three principal lines unite at the beginning 
of the line of life, a violent death or a fatal accident are 
prophesied. 


















THE LINE OF THE HEART 


217 


The Heart-line in Chains 

When the heart-line progresses in branches and chains, 
at times confused, it indicates from the standpoint of 
health a tendency toward palpitation and heart-disease. 
It also denotes an impressionable heart, great, even ex¬ 
cessive sensibility, inconstancy in love, infidelity, an ex¬ 
cessive prodigality of heart which causes it to lavish 
its affection in detail and fall in love here, there and the 
other place, a number of times and a little at a time. It 
is the artichoke heart, with a leaf for each and every 
one. Its owner cuts up his heart in little love affairs. 



They were praising a lady who had become notorious 
because of her numerous love affairs in the presence of 
Sophie Arnould, the great singer, famous for her wit 
and beauty: “You are right/’ said Sophie, “she is an 
excellent person. She has a preference for everyone 
in the world.’’ The lady in question must surely have 
possessed a long heart-line, in chains (Fig. CLIV). 

The Twisted Heart-line 

The heart-line twisted in the middle denotes usury; 
when twisted at its extremities it announces diseases of 
the heart or of the blood (Fig. CLV). 

















218 WHAT YOUR HAND REVEALS 


The Broken Heart-line 

The heart-line broken into several pieces denotes in¬ 
constancy in affection and in love. It stands for con¬ 
nections which are made and broken every moment like 
the line of the heart itself. The cause of the break will 
be indicated by the signification of the mount beneath 
which the break occurs; and it will always be in con¬ 
nection with the evil signification of the mount, since a 
break is a sign of weakness and weakness is error (Fig. 
CLVI). 

The Cut and Crossed Heart-line 

When the line of the heart is cut or crossed by lines 
other than those known, it is a sign of inconstancy in 



love, of deceit, of misfortunes in affection and in love, 
equal in number to the number of cuts or small trans¬ 
verse lines occurring (Fig. CLVII). 

The Heart-line Divided into Two Branches 
When the heart-line is divided into two branches, of 
which one rises in the mount of Saturn and the other 
descends toward the head-line, it denotes a double man¬ 
ner of seeing and hearing, and in such case one is subject 
to error, often deceived and incurs numerous losses 
(Fig. CLVIII). 

















THE LINE OF THE HEART 


219 


Branches 

A bare heart-line, without branches, if not very long, 
denotes an arid heart, insensibility, envy and jealousy. 

If the heart-line throws out a branch at the mount of 
Jupiter toward its line of departure, it is a sign that the 
emotional faculties, affection or passion are tender, pro¬ 
pitious and energetic (Fig. CLIX). 

When the heart-line is long and bifurcated at its be¬ 
ginning, and a leaf or branch moves toward the mount 
of Jupiter and the other branch stops between the index 
finger and the medial, it denotes happiness and a tranquil 



passed among grandeurs and fatality (Fig. CLX). 

When three branches are thrown out toward the 
mount of Jupiter, wealth and probable honors are de¬ 
noted. It is an indication of a just and true-hearted 
man, eager for all the pleasures of life, but able to enjoy 
them in moderation, frequenting and enjoying the society 
of women (Fig. CLXI). 

When the line of the heart sends out three branches 
from the mount of Jupiter toward the head-line, which 
rejoins them, it denotes melancholy, black thoughts and 
suicide (Fig. CLXII). 


















220 WHAT YOUR HAND REVEALS 


The Furrow Moving Toward the Mount of Mercury 
A line or furrow leaving the heart-line and moving 
straight toward the mount of Mercury denotes profits, 
gains, benefits and opportunities of making a fortune 
(Fig. CLXIII). 

The Line from the Mount of the Moon to the 
Heart-line 

When a line leaves the mount of the Moon, rises to 
the heart-line and stops there, it denotes happiness as a 
result of caprice or a woman’s love (Fig. CLXIV). 



The Island 

An island on the heart-line is not, as tradition declares, 
an indication of adultery or illicit love; but merely 
denotes some form of heart trouble (Fig. CLXV). 

The Hole or Pit 

A hole in the heart-line resembling a recent and en¬ 
sanguined scar, which will have left quite a deep indenta¬ 
tion in the flesh, together with a species of inflation or 
bloating around its border, is a sign of apoplexy (Fig. 
CLXVI). 












THE LINE OF THE HEART 


Dots 

Dots on the heart-line itself always denote a trouble 
of the heart, due to family reasons, to affection or to 
friendship, or to love, husband, lover or mistress (Fig. 
CLXVII). 

A dot under the mount of the Sun denotes a chagrin, 
an annoyance, or an obstacle caused by a passion for 
some distinguished person, or for an artist of either sex. 

Red dots disclose annoyances, conjugal love troubles, 
and wounds of the heart, either physical or moral. 


CHAPTER XII 


THE LINE OF DIRECTION OR OF FATE 

“There is no man whom Fortune does not visit once during 
his life; yet when she does not find him ready to receive her, 
she enters by the door and goes out by the window.” 

— Cardinal Imperiali. 

The line of direction or of fate, may start optionally 
at the bracelet, at the line of life, the plain of Mars, the 
mount of Mars or the mount of the Moon, to end at the 
root of the medial finger, traversing the mount of 
Saturn, whence it is also called the Saturnian line. 

§ i. Fate or Destiny 

The ancients called this line the line of chance, the 
word being understood not in its generally accepted 
meaning of good fortune, prosperity, and happy results, 
but as having the signification of the Latin cadencia, 
from which it is derived, and which means: that which 
befalls, that which happens, that which occurs, whether 
fortunate or unfortunate, favorable or unfavorable, since 
the hour of every destiny strikes, and it is fate alone 
which never returns and never alters. 

There is, in fact, no such thing as constant happiness 
or constant misfortune; pleasure and pain, gaiety and 
sadness are so frequently mingled in life that one is 
almost invariably the consequence of the other and every¬ 
thing, says an ancient author, has its good and its bad 
side. Infancy has its candies and—the strap. The army 
man has honor without gain; the war profiteer gain 


222 


LINE OF DIRECTION OR FATE 223 

without honor. The rich man is envied and rarely has 
real friends. Authors are praised in one magazine and 
scored in another. The husband of a pretty wife loves 
and is jealous; the husband of a homely one is safe and 
bored. In a word, evil always goes with good, just as 
good always goes with evil. 

"Fate,” says Dr. Felix Regnault, "actually exists. 
Only we believe that fate is due to some external cause, 
whereas it exists in ourselves; good luck or ill luck 
depend upon one’s character. The latter strikes him who 
believes in it. Fortune never smiles on him. Yet how 
can one succeed if one does not believe in success? On 
the other hand, the man who thinks he was born under 
a lucky star, that the fairies were kind to him at birth, 
or that a fetish guards him, is favored by fortune, so 
they say. It is true, but he holds his own fate in his 
hands, in the faith which gives him courage and perse¬ 
verance.” 

Fortune, wealth, fate are all relative ideas, and are 
variously interpreted according to education, rank and 
position. There are very rich persons, basking in the 
smiles of fortune, who, unable to appreciate their good 
luck, are never satisfied with their fate because the needs 
they create for themselves are still beyond their means 
of attainment. Others, on the contrary, think themselves 
lucky to be holding some modest position. 

Hence the line of direction or of fate calls for an 
interpretation which differs according to the social posi¬ 
tion of the individual. 

We know persons whose hands show a very attractive 
line of fate and yet who are far from being favored by 
luck and good fortune. This line, for instance, is almost 
always clearly defined in the hands of peasants and 
country-folk, who toil hard the year round, without losing 


224 WHAT YOUR HAND REVEALS 

an hour for pleasure, but seldom lose sight of the village 
church-tower. In their case, it signifies that they live a 
uniform life, from the point of view of ideas as well as 
of events, that they tranquilly follow their little end of 
path without sudden stops, ambitions or changes of situ¬ 
ation. They say to themselves, with Fontenelle: “In 
order to be happy one must not change one’s place often 
and one must take up little room,” and they follow the 
principle of the philosopher Medenemus: “It is a great 
blessing to have what one wants; but it is a still greater 
blessing to want what one has.” 

One cannot say that these persons are favored by fate; 
yet, since they create no needs for themselves and are 
satisfied with their situation, they are happy in their 
own way, according to their state and condition. This 
uniform life, without disturbances, always the same, is 
a good explanation of the sharply defined directness of 
their fate-line. 

'§ ii. Observations Regarding the Fluctuation of the Line 
of Direction or of Fate 

The line of direction or of fate is not a “lucky” line 
in the general meaning of the word. It is a guiding line 
in which the general course of our life is set down, its 
stops, bifurcations, changes of situation, the great strug¬ 
gles of existence and often their causes, as well, and 
the approximate time of happening of past, present and 
future events. It is the key with which to prove these 
same events as recorded by the line of life. 

All that tends to modify our existence is indicated by 
a break in the line, a rupture, a cross, a star, a black 
dot, an island or by some other line which traverses the 
fate-line. 


LINE OF DIRECTION OR FATE 225 

In most cases, the line of fate begins to appear in the 
hand at the moment when a favorable position is out¬ 
lined, with the very characteristic detail that it pro¬ 
gresses with a furrow that deepens from the moment on 
that it is assured. 

The line of fate is very variable in its evolutions. It 
stops, often enough, near the head-line, to once more 
grow very brilliant, cease altogether, never reappear or to 
show itself once more five, ten or fifteen years later. 
The combinations of the lines of life and of fate supply 
the most curious explanations and give the most minute 
details. “We must then,” as La Rochefoucauld says 
“govern our fortune as we do our health, enjoy it when 
it is good, and be patient when it is bad.” 

This line of direction, this Saturnian line or fate-line 
preserves its name and influence though it does not pro¬ 
gress to the mount of Saturn. Its progression toward 
one or another mount denotes the preferences of the 
mount toward which it progresses. If this be the mount 
of the Sun (or Apollo), it denotes a taste for the arts, 
and one will arrange one’s life to that end. If it turns 
in the direction of the mount of Jupiter, it means that 
one will be attracted by ambition and the gratification of 
pride. If it turns toward the mount of Mercury, it 
implies aptitude for eloquence, the sciences or commerce. 

When the line of fate is missing, even in both hands, 
it is no sign that good fortune, prosperity or even suc¬ 
cess will fail the person in question. Yet he will have 
to rely altogether upon himself. There are highly gifted 
persons who are fatally lucky, who succeed admirably 
in their enterprises though they have no line of direction; 
such persons have nothing to expect of chance, they owe 
everything to their work, their perseverance, their per¬ 
sonal merit. They reach their goal by main force, be- 


226 WHAT YOUR HAND REVEALS 


cause they are energetic, and have the signs of those 
qualities indispensable for success, and above all a firm 
and persistent will power. 

Incidentally, even the most favorable lines of fate 



and of the Sun exclude neither difficulties nor the strug¬ 
gles of life. These lines, as we can verify day by day, 
are modified during the course of our existence. This 
means that fate is not irrevocable, and is well indicated 
by the fluctuation of the lines. 









LINE OF DIRECTION OR FATE 227 


§ iii. Division of the Line of Direction or of Fate to 
Indicate Age and Time of Occurrence of Events 

The line of direction must be read from below upward. 
Running from the bracelet to the head-line, it repre¬ 
sents approximately thirty years; in such a way that it 
is easy, by dividing this length, to obtain the periods or 
intermediate ages (Fig. CLXVIII). 

From the beginning of the line of the head, that is to 
say from about the age of thirty, up to the line of the 
heart, we have from ten to fifteen years, more or less. 

Toward the medial finger-joint, the line indicates ap¬ 
proximately seventy-five years. 

§ iv. The Line of Direction or of Fate Regarded from 
Various Points of View 

The Long, Delicate Line 

The long, delicate line of direction foretells a destiny 
which is not clearly apparent, yet which may be all the 
more misleading because of this; it also indicates events 
of trifling importance. 

The Deep Line 

When, at certain points, the line of fate is more deeply 
furrowed than at others, it means that the most intense, 
most striking, most important events of life correspond 
to the periods when the line deepens. 

The Clear, Straight Line 

When the line of direction is clearly marked, it denotes 
a fate well planned and decided in some determined 
sense. When the line is very large, rising straight in the 
hand, it indicates a long life, even though the line of 
life be broken (Fig. CLXIX). 


228 WHAT YOUR HAND REVEALS 


The Very Irregular Line 

• The line of fate which is altogether irregular, in a 
very rayed hand, belongs to a supersensitive person, of 
diseased sensibilities, and an irritability complete and 
unceasing (Fig. CLXX). 

Small Lines Doubling the Line of Direction 
A number of small lines doubling the line of direc¬ 
tion along its length, without cutting it, is an excellent 
omen, and a sign of success in overcoming obstacles (Fig. 
CLXXI). 



Double Lines 

A double line of direction, acording to its character 
and its point of departure, doubles the principal signifi¬ 
cation, when the two lines are alike, and does the op¬ 
posite when they differ (Fig. CLXXII). 

The Fate-line Made Up of Small Lines 

When the line of direction is made up of small lines 
only, it is an indication of sickness; and also denotes 
an inquiet, undecided character, often changing his 
mind and ideas (Fig. CLXXIII). 














LINE OF DIRECTION OR FATE 229 

The Broken, Cut and Relinked Fate-line 
A line of direction which is broken, cut into several 
pieces, relinked at every moment, torn and twisted, de¬ 
notes an existence subject to all sorts of fluctuations: 
fortunes remade, changes of situation, success by fits and 
starts, involving constant new personal efforts. The 
lines at which the Saturnian line stops indicate the 
reasons for these changes (Fig. CLXXIV). 

The Fate-line with Branches 

The line of direction with branches which rise and 
ascend on high—each branch forming a ladder with 



which to climb—denotes elevation, success by reason of 
personal merit, and successive passing from a position 
of lesser to one of greater importance which may lead 
from poverty to opulence (Fig. CLXXV). 

The Fate-line Beginning Near the Bracelet 

When the line of direction is clear-cut, well marked, 
without cuts, crosses or other signs, and starts from the 
bracelet, drawing a deep furrow to rise directly to the 
mount of Saturn, stopping at the first joint of the medial 
finger, after having cut the head-line and the heart-line 
without stopping, it denotes a fate which holds no great 





















230 WHAT YOUR HAND REVEALS 

difficulties nor perils, and is without any abrupt changes 
of situation (Fig. CLXXVI). 

This line, in a soft hand devoid of energy, with a 
short head-line, belongs to a person who lives along his 
life as chance may decree, vegetating wherever he may 
happen to be, suffers destiny to lead him, and will never 
make an effort to escape, preferring calm and tranquillity 
to the well-being which the struggle for existence might 
bring him. 

In an energetic hand with a good head-line and a de¬ 
termined and persevering thumb, his good line of fate 



indicates a person whose general path in life is well out¬ 
lined and frankly set down. In fact, he is sufficient unto 
himself, independent, goes where he should go, or where 
a fatally fortunate destiny thrusts him. Doing what will 
and reason command, he follows a straight road and 
inevitably attains his goal. 

Japanese chirologists say that an undeviating line of 
direction or of chance, well marked, which rises from 
the bracelet to the joint of the medial finger, is an infal¬ 
lible sign by which some future Mikado or other head 
of the state may be recognized. There are heads of 
states who do not show this sign; they are those in 






















LINE OF DIRECTION OR FATE 231 

whose case circumstances have merely favored power of 
will; yet all whose line of direction presents this appear¬ 
ance are destined to a throne or some high office by fate, 
whether they will or no. 

The Fate-line Beginning on the Line of Life 
When the line of direction begins at any point of the 
line of life, moving directly to the first joint of the 
medial finger, without cuts or crosses, it denotes happi¬ 
ness acquired by one’s own merit. It indicates that one 
will succeed by means of energy, will power, and work. 



one’s success (Fig. CLXXVII). 

The Fate-line Beginning on the Mount of Mars . 

When a well-defined line of direction, even though it 
be cut into several fragments, and starting from the 
mount of Mars, either above or below the head-line, 
turns thence into the plain of Mars to end on the mount 
of Saturn, at the first joint of the medial finger, it de¬ 
notes strength of resistance, an energetic person endowed 
with the greatest combatant faculties, whom the struggle 
for life does not intimidate, but who, on the contrary, 
is roused by it. His life will not be easy, he will meet 

















232 WHAT YOUR HAND REVEALS 

with obstacles in the course of his existence; yet nothing 
will stop, nothing will down him. Discouragement will 
be unknown to him; and he will clinch and struggle inch 
by inch against difficulties, events and destiny. Will 
this warrior, this fighter disentangle himself and draw 
himself out of the difficult situations into which he 
plunges? The line of the Sun will determine the ques¬ 
tion and tell us whether his efforts will be crowned with 
success (Fig. CLXXVIII and CLXXIX). 

The Fate-line Beginning in the Plain of Mars 

When the line of direction starts in the palm of the 
hand or plain of Mars to end on the mount of Saturn, 
at the first joint of the medial finger, it presages a life 
all the harder the further the line penetrates into the 
medial. It indicates difficulties and hardships at the be¬ 
ginning, with tardy success motived by the struggle for 
life. Persons who bear this sign often allow themselves 
to be cast down, fight in a half-hearted manner, and, 
unless they have a good thumb which gives them will 
power and perseverance, they throw away the battle, 
persuading themselves that they have not a chance in the 
world, and that heaven has abandoned them. They grow 
discouraged, turn melancholic, yield themselves up to 
black despair, and the fatal obsession of suicide haunts 
them (Fig. CLXXX). 

Jean-Jacques Rousseau, the philosopher with the mel¬ 
ancholy, fantastic, dreamy soul, must have had a line of 
direction rising in the plain of Mars, and we are con¬ 
firmed in this opinion when Diderot tells us that, having 
gone to Montmorency to visit Rousseau, they took a 
walk beside the lake: “That,” said Rousseau, “is where 
I have been tempted to jump in some twenty times and 
end my life.” 


233 


LINE OF DIRECTION OR FATE 

“Why have you not done so?” inquired Diderot. 

Jean-Jacques was struck by the cool manner in which 
his friend said these words and for a moment did not 
reply. Then he said: “I put my hands in the water and 
it was too cold.” 

The Fate-line Beginning on the Mount of the 
Moon 

A good line of destiny, starting from the mount of the 
Moon, to move directly to the mount of Saturn at the 
first joint of the medial finger, denotes constant good 
luck, despite numerous non-successes, due to fancy, to 
imagination, caprice, and, very often, the support, help 
or protection of some man or woman, according to the 
sex of the person in question (Fig. CLXXXI). 

Persons who are fortunate enough to carry this line 
on their hand have a fertile imagination which renders 
them many services, in every circumstance of life, and 
always makes it possible for them to extricate themselves 
from some disagreeable situation. 

Are they in difficulty, involved in some unpleasant or 
mortifying affair, or does fortune seem to abandon them 
and ill luck dog their footsteps, they never lose hope or 
courage, they have faith in their star and they are right; 
for a ray of sunshine soon lightens their gloomy hori¬ 
zon, and some luminous inspiration puts them in the 
way of success. Like the cork which always returns to 
the surface of the water when a shock has thrust it under 
for a moment, they float as well, and cannot be drowned. 
These are the persons of whom one says: they have good 
luck, everything comes their way, they are like the cats 
and always fall on their feet. 

When this same line starts from the percussion of the 
hand, on the mount of the Moon, good luck and happi- 


234 WHAT YOUR HAND REVEALS 

ness will result either from a fancy or a caprice which 
will bring about some great change; a change of location 
or even a great voyage, according to the greater or lesser 
distance of the point of the departure of the line at the 
percussion. The percussion always indicates the greatest 
possible distance, and, in nearly every case, a voyage 
over-seas, especially if from the percussion deep rays 
move out upon the mount of the Moon (Fig. CLXXXII). 

When the line of direction, leaving the mount of the 
Moon, rises straight and clear to the heart-line, where it 



loses itself, and the said heart-line turns toward the 
mount of Jupiter, it denotes happiness resulting from 
some chance, followed by a happy love, that is to say, 
a rich marriage. The fusion of the line of direc¬ 
tion with the line of the heart with a tendency toward 
the mount of Jupiter is always a very lucky omen (Fig. 
CLXXXIII). 

The Fate-line Beginning on the Mounts of Venus 
and the Moon 

When the line of direction starting at the same time 
from the mounts of Venus and the Moon, that is to say, 
from love and imagination, reunites in a single branch 

















LINE OF DIRECTION OR FATE 235 

in the plain of Mars and then rises straight and trium¬ 
phant to the root of the medial finger, it denotes labori¬ 
ous success, due to struggles made to satisfy an amo¬ 
rous passion based on a disordered imagination (Fig. 
CLXXXIV). 

When this line of direction is broken it denotes a fatal 
termination due to love or caprice. 

The Fate-line Stopping at the Head-line 

When the line of direction comes to an abrupt stop at 
the line of the head, it denotes brain-trouble or some 
act of rashness, or a change of situation of some sort 
for some reason indicated by the direction of the Satur¬ 
nian line. The line of the Sun will tell us whether we 
are right or wrong. 

When mounting directly from the bracelet, it stops at 
the head-line, it denotes an inventive spirit who loses 
everything because of sudden rash impulses (Fig. 
CLXXXV). 

The Fate-line Stopping at the Heart-line 

The line of direction which comes to an abrupt stop 
at the heart-line foretells a disease of the heart or change 
of situation, or a destiny checked or broken by an affair 
of the heart, be it love or family affection (Fig. 
CLXXXVI). 

The Fate-line Ending on the Mount of Saturn 
A line of direction, irrespective of where it may start, 
which ends in a strong, well-marked furrow on the mount 
of Saturn, is a presage of tranquillity, happiness and of 
good health in one’s old age. It also declares that at 
the epoch in question one has passed the periods of the 
great struggles for existence, and that one may take one’s 
ease (Fig. CLXXXVII). 


236 WHAT YOUR HAND REVEALS 

The Fate-line Ending in Small Branches 

When the Saturnian line ends in small branches, it 
denotes a difficult old age; those who have this line will 
be devoid of order in their mode of conducting them¬ 
selves, they will scatter their spirit, intelligence and 
strength, will have no clear idea of what they are about, 
and will exhaust themselves without profit (Fig. 
CLXXXVIII). 

The Fate-line Cut on the Mount of Saturn 

The line of direction cut on the mount of Saturn by 
a few transverse lines, denotes obstacles in all things 



and, when this sign is arranged in files, denotes a prison. 
In any case it always indicates misfortune and a succes¬ 
sion of untoward events (Fig. CLXXXIX). 

The Square on the Mount of Saturn 

When a square formed by the meeting of various lines 
appears on the mount of Saturn, it denotes preservation 
from the fatalities announced by the lines which are evil, 
a square always denoting preservation (Fig. CXC). 

The Fate-line Starting on the Medial Finger 
When the Saturnian line cuts the root of the medial 
finger, and advances on the third phalanx, it denotes 























LINE OF DIRECTION OR FATE 237 

some extraordinary thing which fate has in store; a great 
destiny for good or for evil (Fig. CXCI). 

When it rises in the second phalanx of the medial 
finger, as far as the second joint, the sign is a fateful 
one, and often denotes imprisonment, according to tra¬ 
dition. 

As soon as the line of direction enters the root of the 
medial finger, it is the harbinger of a fate more and 
more adverse, in proportion to the upward advance it 
makes. This influence is equally evil when the line of 
direction descends below the bracelet and trespasses on 



(Fig. CXCII). 

The Fate-line Turning Toward the Mount of 
Jupiter 

When the line of direction, running bifurcate with the 
head-line, rises straight to the mount of Jupiter, it is am¬ 
bition which causes it to change its route; and if it stops 
on this mount, it signifies great prosperity, and happiness 
(Fig. CXCIII). 

When it traverses the mount and cuts the root of the 
index finger, it denotes excessive pride j while if the 




















238 WHAT YOUR HAND REVEALS 

same line ends on the index finger in a star, some ex¬ 
traordinary success is forecast (Fig. CXCIV). 

If, on the contrary, the line ends in a cross, it presages 
a calamity equal to the pride displayed (Fig. CXCV). 

Dots 

White dots on the line of direction announce a weak¬ 
ening of either good or bad luck. 

Red dots forecast wounds (Fig. CXCVI). 



Crosses 

A cross on the line of direction indicates an obstacle, 
a change of position or a new situation, and one may 
find out whether these changes have been favorable or 
fatal by consulting the line of the Sun (Fig. CXCVII). 

Stars 

A star in the middle of the line of direction always 
foretells a misfortune, whether in the past or in the 
future. This sign often allows us to foretell reverses 
of position, or of fortune at a time when all seems favor¬ 
able and when one is far from suspecting any danger 
(Fig. CXCVIII). 

In a gambler's hands it is possible to foretell losses at 
play several years in advance. 



















LINE OF DIRECTION OR FATE 239 


The epoch of the losses of fortune are corroborated 
and explained by the line of life, by the deaths of rela¬ 
tives and protectors, by litigation or by hazardous enter¬ 
prises which are a consequence of mistaken calculations 
and rash impulses. 

Islands 

An island in the line of direction is one of the charac¬ 
teristic signs indicating adultery for both sexes. 

One or more islands on this line sometimes bind the 



entire hand, and announce one or more unions which 
will last all life long, or during part of one’s life, accord¬ 
ing to their dimensions. The epoch and the duration of 
the adultery are determined by the place and length of 
each island on the line (Fig. CXCIX). 

Sometimes islands may be seen whose branches reunite 
toward the end of life, which indicates that the union 
has been regulated or legitimatized. In general, the 
adulteries inscribed on the line of direction, for men as 
well as for women, correspond to the changes of position 
and explain them, for there are adulteries which lead to 






2 4 o WHAT YOUR HAND REVEALS 

ruin and others which elevate to the most brilliant situa¬ 
tions. 

This island, the sign of adultery, denoting love with¬ 
out the bonds of matrimony, is infallible; yet we must 
make a distinction: it may be either very actual, physical, 
or again it may be merely moral, platonic, and never 
have been consummated. We will study these psychic 
and physiological cases when we consider all the charac¬ 
teristic signs of adultery in particular. 


CHAPTER XIII 


THE LINE OF THE SUN 

“Nothing succeeds like success.”—E nglish Proverb. 

The line of the Sun may be simple, double or triple, 
starting from any one point of the hand; but in most 
cases, it mounts directly from the head-line or the heart¬ 
line on the projection of the root of the annular finger 
or mount of the Sun, which it crosses, furrowing it more 
or less deeply. 

The line of the Sun (line of Apollo), denotes the 
faculty of idealizing the urge toward the beautiful and 
good, and clarity of spirit. It reveals a person who 
brings his abilities into play in a self-chosen career; it 
stands for love of art, good taste, and a sense of harmony 
in all its manifestations; it foretells prosperity, success, 
distinction, fame, celebrity and even glory, and that not 
alone for those who devote themselves to art, poesy, or 
literature, but for those as well who, according to their 
vocation or their abilities, launch themselves into finance, 
industry, commerce or any other enterprise. 

A fine Sun-line is beyond doubt one of the most fa¬ 
vorable one may have, and, in our opinion, this line 
which is also known as the line of renown and celebrity, 
is a veritable line of good luck. 

One may meet very intelligent people who have no 
Sun-line; but it is worth noting that when they under¬ 
take any great enterprise, they either die before it has 
been brought to a conclusion, or their enterprise remains 
a project and is never realized. 

241 


242 WHAT YOUR HAND REVEALS 

Anyone who has no Sun-line, no matter how small, 
even though he may have a good line of direction, may 
as well renounce success and ambition. But, in return, 
whoever has a Sun-line in his hand may be sure that he 
need never fear a long siege of wretchedness, nor abiding 
misfortune, or persistent lack of success; for a sunbeam 
will always be shining for him, to light his way and guide 
him toward prosperity or success. 

When the line of the Sun is favorable, the ancestral 
signature, the mounts and the shape of the fingers will 
point out to us whether his success will lead to fortune 
and wealth or to honor and credit, or whether fortune 
will favor him under all heads. This line is the one 
which should always be consulted, as offering definite 
proof, before formulating a prognostic. 

All statesmen, picked officers, academicians, scientists, 
distinguished men of letters, artists of standing, finan¬ 
ciers, captains of industry, skilful merchants, in one 
word all those intelligent persons who have reached and 
occupy a position which makes them well-known, have 
a longer or shorter Sun-line, and one more or less good, 
but they always have a Sun-line. It may even be met 
with in the case of persons of ordinary intelligence who 
have attained prosperity or are destined to attain it, in 
which event it signifies: fortune and success in position. 

§ i. The Sun-line Divided to Indicate Age and the Time 
of Occurrence of Events 

In order to determine age and the time of the occur¬ 
rences of events indicated by the line of the Sun, let us 
take for granted that this line begins at the bracelet 
and terminates at the joint of the annular finger. Then 
we count: 


THE LINE OF THE SUN 


243 

From the bracelet to the head-line approximately 30 
years. 

From the line of the head to the line of the heart say 
ten years, or forty years together. 

This line should be consulted like the line of direction, 
from below upward (Fig. CC). 



In most cases the line of the Sun starts from the head¬ 
line or the heart-line, or from some point between these 
two lines, that is to say, between thirty and forty years; 
and this because of a very simple reason: the Sun-line 
begins to show itself from the day when the outlines of 









244 WHAT YOUR HAND REVEALS 

the future show themselves, when efforts proportion 
results, when position becomes more stable, more as- 
sured; since, if one has not made a position for one's 
self at that age, it is to be feared that one never will. 

§ ii. The Line of the Sun Regarded from Various Points 
of View 

When a well-shaped line of the Sun is found in one 
hand only and not in the other, it denotes prosperity and 
success in spite of everything, but at the cost of brute 
force, great hardship, heavy toil and personal merit. 

The Sun-line Starting at the Heart-line 

When the Sun-line starts at the heart-line and mounts 
in a handsome furrow into the projection of the annular 
finger, great success, renown and celebrity due to pre¬ 
eminent talent growing out of great generosity of soul, 
heart and character, are indicated (Fig. CCI). 

Sully-Prudhomme, the poet who excelled in translat¬ 
ing the most delicate sentiments of the intimate life of 
the heart, had a fine Sun-line, beginning at the heart-line, 
which clearly foretold that he would draw his poetic 
spirit and power from his heart, and by way of the heart 
would gain fame, celebrity, the greatest honors and the 
consecration of his literary talents. As a matter of 
fact, he was elected a member of the Academie Fran- 
gaise at the age of forty-three. Mme. Severine, “the 
princess of prose," as Mme. Marcelle Tinayre calls her, 
has a belligerent hand, showing a Sun-line which starts 
from a marvelous heart-line to end in a deep furrow on 
the root of the annular finger. It is an indication of a 
life entirely bent upon an ardent and passionate struggle 
which nothing can disarm, for the defence of the ideals 
of justice, of the right before all else, which haunts it. 


THE LINE OF THE SUN 245 

From its own independent and generous heart it draws 
the strength necessary in order to sound forth its indig- 
nation against oppression and its pity for the opppressed 
in speech and in writing. Mme. Severine’s Sun-line 
confirms that all she has written, all she has said, has 
come from the heart, and that it is this generosity of 
soul, and this hand stretched forth to all that suffer, 
which are her merit and her renown, her celebrity and 
well-merited reputation. 



The Line of the Sun Starting from the Head-line 

When the line of the Sun starts from the head-line, 
it denotes a well-established determination to devote one’s 
self to art, literature, poetry, in order to gain glory, or 
to attempt some other enterprise conducting to renown, 
celebrity or fortune (Fig. CCII). 

“Gyp” (Countess Martel de Janville de Mirabeau), 
has a hand whose lines mingle and cross each other like 
her own fantastic ideas, her clever, witty improvisations, 
her bons mots, and all the emotions of her heart, the 
joys of her biting, satiric and even philosophic spirit. 
Her head-line, forked at its extremity, speaks highly of 











246 WHAT YOUR HAND REVEALS 

the resources of her observing spirit, always wide-awake, 
always busy, which continually scrutinizes everything 
everywhere. And it is from that her Sun-line branches 
out, to end on the projection of the annular in two deep 
and nearly parallel furrows, which implicitly confirm 
not only what we have just declared, but also that “Gyp” 
possesses the greatest artistic and literary abilities; that 
she handles the drawing-crayon as well as she uses the 
pen, and that it is by way of her art and her talents that 
she has attained success, renown, reputation and ce¬ 
lebrity. 

The Line of the Sun Starting at the Line of 
Intuition 

When the line of the Sun starts at the line of intuition 
it reveals fine artistic qualities which, unfortunately, are 
sometimes injured by excessive imagination (Fig. 
CCIII). 

The Line of the Sun Leaving the Line of Direction 

The line of the Sun leaving the line of direction indi¬ 
cates success in whatever one may undertake, and espe¬ 
cially very marked aptitude for the arts which lead to 
success and reputation, and even to glory (Fig. CCIV). 

The hand of Alexander Dumas the elder showed a 
Sun-line leaving the line of direction which, on arriving 
at the projection of the annular finger emphasized by the 
mount of Mercury, exploded and rose flamboyantly, 
clearly indicating that Alexander Dumas would essay 
himself in every field of science and art, and would 
shine in each. And he unquestionably was the most 
popular romantic and dramatic author of his time, and 
secured reputation, renown and glory. 

Gounod, the great musician and composer, had a single, 
well-drawn Sun-line in his left hand, and in his right 


THE LINE OF THE SUN 


247 


hand a Sun-line starting from the line of direction and 
rising to the root of the annular finger where it showed 
several more delicate lines dominated by two principal 
ones, which signified celebrity caused by an abundance of 
vigor on the one hand, and prosperity and glory on the 
other. 

Dejazet, the celebrated comedienne, had a hand with 
a handsome Sun-line which united at its starting-point 
with the line of direction, and rose side by side with it, 
indicating that this great artist could only find happiness 



in her art, and that she would infallibly become cele¬ 
brated because of her art and her talent. 

When one or more lines, leaving the mount of Venus, 
cut the line of the Sun, it is always a sign—we have 
already noted in the consideration of the line of life—of 
a loss of fortune in infancy. This line is especially no¬ 
ticeable at the beginning of life, which naturally implies 
that the loss in question has been suffered by the parents 
(Fig. CCV). 

The Line of the Sun Starting from the Mount 
of Venus or the Line of Life 
When the line of the Sun starts from the mount of 
Venus in a strongly developed manner, or from the line 
















248 WHAT YOUR HAND REVEALS 

of life, it is a very brilliant augury. It indicates an ex¬ 
quisite love for form and characteristic aptitude for 
everything in the shape of art, science, study, especially 
if the fingers be smooth. In the case of nearly all 
superior beings, the line of the Sun starts from the 
mount of Venus or from the line of life (Fig. CCVI). 

The great painter Meissonier had two Sun-lines, one 
of which, starting from the line of life rose to the heart¬ 
line, and turned from it toward the mount of Mercury, 
then turning back to draw a second line on the mount 
of the Sun. This denoted science uniting herself with 
art. 

Frederic Lemaitre, the celebrated dramatic artist, had 
a handsome Sun-line starting from the mount of Venus, 
thus making clear that his talent was born of vivid pas¬ 
sions utilized by intelligence and art. 

Victor Hugo, the poet of genius, a man preeminently 
gifted, showed a marvelous Sun-line starting from the 
line of life, in his hand. This line declared that he 
would succeed in the arts, in literature and poetry, that 
he would realize his desires and ambitions, and that glory 
would be his portion. Owing to a longevity which 
brought him a foretaste of immortality on earth, he died 
in the fulness of glory, and disappeared like some demi¬ 
god in an apotheosis. 

Marcelin Berthelot, the illustrious chemist, politician 
and philosopher, no less than scientist, had a handsome 
Sun-line starting from the bottom of the line of life and 
ending with a deeply-traced furrow in the root of the 
annular finger. This line confirmed his rapid progress 
at the outset of his career, and the victorious rise of his 
reputation. 

It announced the realization of his desires and ambi¬ 
tions. And, in fact, the great scientist Berthelot, during 


THE LINE OF THE SUN 


249 


the course of his long career, had decreed him the 
highest honors as a chemist, while in his political life he 
became a senator and a minister of state. When he died, 
supreme honors were awarded him: a national funeral 
and a sepulchre in the Pantheon. 

The Line of the Sun Starting from the Mount of 
the Moon 

The Sun-line which starts from the mount of the Moon 
in order to terminate in a strong furrow on the root of 
the annular finger, denotes certain success, especially in 
the case of poets, artists and great comedians. Persons 
who have this line act only too often on the prompting 
of fantasy or the imagination; yet sometimes gain a fine 
situation or fortune owing to love, passion or chance 
(Fig. CCVII). 

The Line of the Sun Starting from the Plain of 
Mars. 

When the line of the Sun starts from the plain of 
Mars, which is the site of decisions and of the struggle 
of action, in order to end beneath the annular finger in a 
strong furrow, it is proof positive that its possessor will 
lead an agitated life, have violent tribulations and wage 
great struggles. He will succeed, he will attain that which 
he desires, but only with great effort, after having fought 
desparately against all his difficulties, especially if the 
hollow of the hand be rayed and marked by a cross. For 
an army man it is a sign of success in war and honor. 
This line is to be met with in the hands of persons who 
attain their goal despite everything and everybody, and 
often conquer reputation, celebrity and glory (Fig. 
CCVIII). 

Auguste Rodin, the illustrious sculptor, the undisputed 


250 WHAT YOUR HAND REVEALS 


and incontestable master of modern French sculpture, this 
puissant, realistic and individual artist, had a Sun-line 
which started in the palm of the hand to end beneath 
the annular finger in a deep furrow. This line confirmed 
the numerous struggles indicated by the line of direction, 
as well as an artistic career filled with violent storms; 
and then—the breaking through, success in spite of all, 
renown, universal fame, glory. Yet all this was obtained 
at the cost of great hardship, strenuous toil, incessant 
battle and personal worth and merit. 



ccvtd 


Mme. Rejane has a hand which reveals all the qualities 
and all the aptitudes of the great artist. It shows at one 
and the same time: art, imagination, exaltation and 
reasoning power, order and disorder, poesy and reality, 
it denotes the creator and the innovator. What a mar¬ 
velous gift for the stage this great artist possesses—and 
what a combatant she is, as well! 

Her Sun-line rises in the plain of Mars to come to an 
end in a clearly marked furrow beneath the annular 
finger. This is the formal promise of an abiding pros¬ 
perity, one overcoming all obstacles, of certain success, 








THE LINE OF THE SUN 


251 

of renown, of reputation, and even fame; yet obtained 
only at the cost of many efforts, difficulties of every kind, 
and incessant struggles. 

M. Georges Cletnenceau, at present one of the states¬ 
men most in the public eye, is the very personification of 
struggle, as his hand reveals. Quick at both thrust and 
parry, he is gifted with a prodigious faculty for combat, 
is the redoubted leader of a perpetual party of opposition, 
and animated by a veritable frenzy of demolition as re¬ 
gards all governments, in spite of which M. Clemenceau 
remains a man of government and order. 

As President of the Council of Ministers, he has al¬ 
ready shown the measure of his activity, his resistance 
and his inexhaustible energy. 

His Sun-line, rising in the plain of Mars, and ending 
in a strongly pronounced furrow on the root of the an¬ 
nular finger, announces a closing life-end full of belliger¬ 
ency, of incessant strife, leading him to success, renown, 
reputation, fame and glory. 

The Line of the Sun Running from Mars to the 
Sun 

When a well-defined Sun-line, beginning on the mount 
of Mars, whether above or below the head-line, thrusts 
itself out to end in a handsome furrow on the mount of 
the Sun, it is a stimulant for the will, energy and perse¬ 
verance (Fig. CCIX). 

This line always denotes an ardent desire to increase 
one’s personal merit, to gain a situation superior to that 
which one occupies. When the hand is intelligent, it still 
further excites and spurs on ambition. It is then an 
ardent thirst, an imperious and inexorable need to attract 
attention, to shine, to throw into relief all that one has in 
the way of intellect, heart, soul and the aptitudes with 


252 WHAT YOUR HAND REVEALS 

which nature has endowed one, in order to gain reputa¬ 
tion, fame and glory (Fig. CCX). 

It is a marvelous line and one which renders the great¬ 
est services to lawyers, preachers, orators, comedians and 
all those who speak in public. Those favored with a line 
of this kind are excited rather than intimidated by the 
crowd: the larger and more select their audience the 
greater the expansion of their intellectual powers, the 
more spirited and brilliant their speech, the more lively, 
animated and persuasive their eloquence grows, until they 



feel the sympathetic current vibrating between their audi¬ 
ences and themselves. 

Got, the celebrated actor of the Theatre-Frangais, and 
Faure, the great singer at the Opera, each of them showed 
in his hand a line of the Sun starting from the mount of 
Mars. And each of them made a name for himself and 
had his hour of success, reputation and celebrity. 

Alexander Dumas the younger had in each hand a 
handsome Sun-line starting from the mount of Mars and 
ending in the mount of the Sun, and this line—which 
never dies—showed that the author of “The Lady with 










THE LINE OF THE SUN 


253 

the Camellias” was animated by an ardent thirst for fame, 
an intoxicating desire for the loftiest glory, and that he 
would shrink from nothing to succeed in making himself 
known, in breaking through his obscurity and making a 
name for himself as his father had done. This is what 
made him wise and strong; in vain pleasure sought to 
embrace him and indolence to hold him back; this line 
drove him, spurred him on, cried out to him to toil, to 
forge ahead. And that is what he did. His success was 
complete, and he attained the greatest honors, reputation, 
and fame, and was made a member of the Academie 
Frangaise. 

The hand of Fernand Labori, the eminent advocate, 
also showed a line starting from the mount of Mars to 
end beneath the annular finger. This line was very valu¬ 
able to him, and rendered him tremendous services, for 
it urged him on to show himself, it gave power, assurance 
and brilliancy to his pleas. He achieved fame, and his 
great renown was consecrated by his elevation by the bar 
to the office of President of the Barrister’s Corporation, 
equivalent to the bestowal of the marshal’s baton in the 
army. 

Mme. Sara Bernhardt, our great tragic actress, the 
gifted artist who is one of the most interesting person¬ 
alities of our time, reunites and synthesizes in herself all 
the artistic aptitudes. She, too, possesses the famous line 
from Mars to the Sun, hence she has attained the very 
summit of glory. 

What an immense and complete talent! What a cre¬ 
ative power and artistic genius she evinces! 

Mme. Sara Bernhardt, our great national tragic ac¬ 
tress, has been acclaimed in all parts of the world; where- 
ever she has been she has brought the laurel-wreaths of 
glory back with her, and the fame which is her portion 


254 WHAT YOUR HAND REVEALS 

will be handed down to posterity as a souvenir of her 
genius. 

Two or Three Lines of the Sun 
When two or three handsome lines, straight and very 
distinct, are graved on the mount of the Sun, they de¬ 
note a person of a superior type, who may attain fortune, 
fame, and the most elevated positions, and who is able 
to carry on in several arts at the same time, or occupy 
himself simultaneously with art, literature, poetry, politics 



or business. It is the indication of an enormous reputa¬ 
tion, and a universal celebrity, all due to personal merit 
(Fig. CCXI). 

A single line, if a perfect one, represents a greater 
chance of success than several lines. 

Corot, the celebrated landscape painter, had three Sun¬ 
lines, merely indicated, which rose together, parallel on 
the mount, and these three lines, feebly traced, denoted 
that with a little more enthusiasm, a more sensitive heart 
and a less critical spirit, celebrity, reputation and wealth 
would have come to dig the furrow which nature had 






THE LINE OF THE SUN 


255 

only outlined. In spite of this Corot made a name for 
himself, acquired a great reputation and became famous. 

Auber, the well-known composer, had three splendid 
Sun-lines, which rose in parallel on the root of the annular 
finger, denoting merit, celebrity, riches, or a chance to 
amass riches or gain a fortune. 

Lamartine, the greatest of elegiac poets, the idol of a 
preceding generation, bore in his hands the characteristic 
signs which revealed the extraordinary totality of gifts 
permitting him to shine forth so brilliantly on different 
stages. His mount of the Sun was furrowed by three 
parallel lines, but a bar in traverse broke two of them, 
and touched the third without breaking it. This clearly 
indicated, first of all, the realization of whatever desires 
and ambitions Lamartine might have had; secondly, a 
high office in political life, literary and poetic glory, and 
wealth; thirdly, consequent loss of political office, and 
injury to fortune or wealth, but a poetic glory remaining 
intact and going down to posterity. 

The Marvelous Trident 

The best line of the Sun is that which, when it reaches 
the line of the heart, or immediately after having trav¬ 
ersed it, divides on the mount into three quite distinct 
branches; the middle branch continuing on its way toward 
the mount of Mercury, while the left branch progresses 
toward the mount of Saturn. This line is known as “the 
marvelous trident,” and is the best of talismans. It de¬ 
notes (Fig. CCXII): 

Branch or fork on the mount of the Sun: artistic 
tastes, glory, honor. 

Branch or fork turning to the mount of Mercury: 
money, fortune, wealth, chances of gain. 

Branch or fork turning to the mount of Saturn: success 
due to reasoning, work or merit. 


256 WHAT YOUR HAND REVEALS 

“The marvelous trident” predicts success, and the 
realization of hopes, aspirations, desires and ambitions. 

The Line of the Sun Turning Toward the Mount 
of Mercury 

When the line of the Sun, instead of directing itself 
toward the projection of the annular finger, terminates 
at the mount of Mercury, it is an indication that art is 



only a means for its possessor to make money (Fig. 
CCXIII). 

The Line of the Sun Turning toward the Mount 
of Saturn 

When the line of the Sun instead of ending beneath 
the annular finger, terminates at the mount of Saturn, it 
denotes a vocation missed by the scepticism which destroys 
the ideal (Fig. CCXIV). 

The Line of Union between Art and Science 
When of two strongly accented lines one leaves the 
base of the little finger, the other the base of the annular 
finger, and rejoin each other below the line of the heart, 
in the shape of the letter U or V, they form what is known 
as the line of union between art and science. This line is 


















THE LINE OF THE SUN 


257 


frequently met with in the hands of teachers of the fine 
arts, architects, great physicians and those who unite 
art and science in their work (Fig. CCXV). 

The Line of the Sun Barred but not Cut 
When the line of the Sun is accompanied throughout 
its length by small rays which bar without cutting deeply 
into it, it stands for an obstacle to success, due to the envy 
or, sometimes, to the ill-will of superiors or those by whom 
one is surrounded; it signifies that success will be gained 



struggles (Fig. CCXVI). 

Diaz, the celebrated painter, a skilful and luminous 
colorist, had a handsome and well-hollowed line of the 
Sun, but it was rayed with small lines traversing though 
not cutting it, as though to witness to the struggles which 
this artist had to make in order to establish his reputation. 

Lines Crossing the Line of the Sun 

One or more lines crossing the line of the Sun always 
foretell struggles, obstacles, and reverses of fortune, es¬ 
pecially if the lines which cross are to be found in both 
hands. If they exist in one hand only, it is an indication 

















258 WHAT YOUR HAND REVEALS 

of success despite all, but obtained at the price of much 
trouble and strenuous toil (Fig. CCXVII). 

Twisted Lines 

When several twisted and unequal lines of the Sun rise 
on the mount, it represents attempts in various branches 
of art, or in various situations which contradict and are 
in conflict with each other, dividing one’s strength and 
intelligence, and thus making complete success impossible 
(Fig. CCXVIII). 

Bad Lines of the Sun 

A species of line on the mount of the Sun, together 
with a misshapen, contorted and hideous annular finger, 



denotes shameful notoriety, such as criminals obtain (Fig. 
CCXIX). 

When the mount of Mars sends out a ray on the mount 
of the Sun, it denotes, in a poor hand, a determination to 
leave nothing undone in order to gain celebrity (Fig. 
CCXIX). 

It is possible for a handsome Sun-line to occur in a 
hollow, deformed and misshapen hand, with twisted 
fingers. In that case the line has an evil influence, de- 
















THE LINE OF THE SUN 


259 

noting wounds or death by fire, especially if there be a 
star (Fig. CCXX). 

The Starred or Disordered Line of the Sun 

When in the Sun-line we find a star, or a crowd of 
small lines in disorder, it foretells a catastrophe if the 
line comes to an abrupt stop, and is the indication of some 
unfortunate event, followed by a fortunate one or a 
success if the line continues (Fig. CCXXI). 

When this star or these small lines are situated in the 
quadrangle, it presages a catastrophe which may compro¬ 
mise the situation, the reputation and even, perhaps, the 
celebrity of the person in question, but will not destroy his 
happiness. 

When the line of the Sun leaves the base of the mount 
of the Sun from a small island, it is a sign that an 
adultery has contributed to one’s success or celebrity, or 
else it denotes the satisfaction of desires and ambitions 
by the regularization of an already existing union (Fig. 
CCXXII). 

§ iii. Regarding the Compensation of the Lines of the 
Sun and of Direction 

The lines are rarely the same in both hands, hence, 
before pronouncing a diagnosis, we must always establish 
a judicious balance between them. For example: If a hand 
shown to be active and intelligent by the length of its 
head-line is entirely traversed by a line of direction as 
well as by a line of the Sun, while in the other hand there 
is no line of direction, but only a line of the Sun starting 
at the age of forty; 

We would say: That the first hand denotes a clearly 
marked destiny, certain prosperity and assured success. 

The second hand denotes an uncertain fate, and doubt- 


26 o WHAT YOUR HAND REVEALS 


ful prosperity until the age of forty, and then success 
(Fig. CCXXIII). 

Together this would give us: certain prosperity, a 
fortune tardily assured, which will be due, not to chance 
or hazard, but to hard work and personal merit. 


§ iv. Relation between the Line of the Sun and the 
Line of Direction 

The line of direction, as we know, excels in particular 
in indicating the time when setbacks in fortune take place, 



and when changes in situation arrive. One must examine 
the line of the Sun and of direction throughout their 
length, in the quadrangle, that is to say, between the 
head-line and the heart-line, in order to take into account 
all that may be favorable or unfavorable and thence draw 
one’s conclusion (Fig. CCXXIV). 

When the line of direction is good, and the line of the 
Sun stops at the head-line and only starts again at the 
heart-line, one cannot state that a misfortune will occur, 
because the line of direction is good. But luck will be 
held down, stopped, retarded and rendered inoperative, 
and will not reappear before the reappearance of the line 
of the Sun (Fig. CCXXV). 






















THE LINE OF THE SUN 261 

When on the contrary, the Sun-line is good throughout 
its length, and the line of direction is missing in the quad¬ 
rangle, this denotes that good fortune will have to under¬ 
go an attack, because the line of direction is missing; but 
that the position remains good by reason of the favorable 
line of the Sun (Fig. CCXXVI). 

When the line of the Sun is effaced, and is covered with 
crosses and breaks, it denotes that prosperity and happi¬ 
ness will be impeded by circumstances whose explanation 
will be shown in the course of the line of life, by 
making the approximate comparison of periods (Fig. 
CCXXVII). 


CHAPTER XIV 


“The wind bloweth where it listeth. A man can receive nothing 
save it be given him from heaven. —St. John. 

§ i. The Line of Intuition 

The line of intuition, also called the line of presenti¬ 
ment, starts below the lines of life, or direction or fate, 
or of the Sun, and, in most cases below the mount of the 
Moon, which it skirts without entering, to end on the root 
of the auricular finger or mount of Mercury. 

This line is also known as the Mercurian line because 
it ends in the mount of Mercury. 

A line is always affected by the qualities or the defects 
of the mounts which it touches and traverses, and, espe¬ 
cially, those on which it ends. In its turn the line of 
intuition receives: intuition and imagination from the 
mount of the Moon; the faculty of attack, of thrust and 
parry, from the mount of Mars; that of logic, of clever¬ 
ness, of worldly poise, love of science, spirit of contro¬ 
versy and effortless eloquence from the mount of 
Mercury. 

When the line of intuition is clean-cut, long, regular, 
without dots or crosses, it reveals a nature straightfor¬ 
ward, loyal, intelligent, refined and practical, with a sane, 
powerful and creative imagination. It denotes good 
health and an excellent memory, precision, clearness of 
vision, a quick grasp of all things, great ease of elo¬ 
quence, and rapidity of attack and counter-attack (Fig. 
CCXXVIII). 

262 


THE LINE OF INTUITION 263 

It also indicates a very intuitive, sensitive, impression¬ 
able nature, nervous to excess, prone to presentiments 
and prophetic dreams, sometimes even reaching clairvoy¬ 
ance, and frequently divining that which it does not know. 

This line spurs its possessor on to investigate all that 
may interest him; it bestows the desire to learn, to know, 
to instruct one’s self; it announces the most brilliant apti¬ 
tudes for the study of sciences, literature and all things 
intellectual. 

It is met with, as a rule, in the hands of all intellec¬ 
tuals ; it renders the greatest service to orators and to 



lawyers since it endows them, together with great facility 
in elocution, with shrewdness, the spirit of controversy 
and of swift repartee. 

Persons who have this line give excellent advice, and 
their counsel is worth while following, on condition, let 
it be well understood, that their fingers are not pointed. 
They express themselves well and clearly, write with 
great facility, and in a graceful, elegant and witty manner. 

When the line of intuition starts from the mount of 
Mars—which rarely occurs—it is a sign of a very active, 
very intense and often too abundant an imagination, in 
a word a violent imagination (Fig. CCXXIX). 












264 WHAT YOUR HAND REVEALS 

When the line of intuition is twisted, it denotes a rep¬ 
tilian nature, not always frank, of dubious probity, a 
whimsical imagination, fond of eccentricities in the worst 
of taste (Fig. CCXXX). 

When the line runs in a chain, it is a sign of a dis¬ 
ordered imagination. 

White dots on the line of intuition announce weaken¬ 
ing of the intellect. 

Red dots reveal violent trouble of the imagination. 

A cross is the indication of some malady (Fig. 
CCXXXI). 

§ ii. The Hepatic Line or Line of Health 

We will here record more as a matter of form the line 
known as the hepatic line, line of the liver, or line of 
health, whose pretended qualities have been handed down 
to us by tradition, and which the ancient chiromancers 
continue to baptize with these names, without taking the 
trouble to verify its actual existence or discover its real 
meaning. 

This line, in those hands in which it is found—for it is 
rarely encountered—usually begins at the base of the 
mount of Venus, near the line of life, and rising somewhat 
obliquely in the hand, ends more or less in the neighbor¬ 
hood of the head-line (Fig. CCXXXII). 

Tradition declares that persons who do not possess this 
line are eager to live, gay, lively, very active bodily, 
friends of good wine, and that they have a delicate skin. 
In that case, the great majority of people must be meant, 
for very few persons have the hepatic line. 

When the hepatic line is well-shaped it denotes good 
health, rich blood, harmony among the fluids of the body 
and a strong stomach. 


THE LINE OF HEALTH 265 

When it is twisted it is an indication of a propensity for 
maladies of the liver and bile. 

When it is cut, discontinued and broken, it is a sign of 
stomach troubles and digestive difficulties. 

There is no need of saying more regarding this line, 



which in most cases exists only in the imagination of the 
old chirologists, who confuse it without any distinction 
with a purely accidental line running from the mount of 
Venus to the mount of Mercury, or the line of intuition 
or Mercurian of which they appear ignorant. 




CHAPTER XV 


“The spirit is willing, but the flesh is weak.” 

Sermon on the Mount. 


§ i. The Girdle of Venus 


The girdle or ring of Venus is a half-circle which 
begins between the index and the medial finger, and loses 
itself between the annular and the auricular finger, en¬ 
closing, as within an island, the medial and the annular, 
that is to say, wisdom and the ideal (Fig. CCXXXIII). 



ccxxxm 


The ancient chirologists, who were accustomed to rely 
solely and purely on tradition, following its errors without 
discussion or examination, asserted that all persons who 
wore the girdle of Venus were lascivious, ardent and 
passionate, and that they had an excessive sensual appe¬ 
tite. This is not always true, and we must make dis¬ 
tinctions. 


266 






THE GIRDLE OF VENUS 267 


If a person’s hand shows a single well-shaped, arched, 
clear-cut girdle of Venus, without bars, cuts or stars, ac¬ 
companied by a good thumb, good head-lines, fate-lines 
and Sun-lines which make up for the isolation of the 
two principal fingers, the medial and the annular, this 
person will be well-balanced, will dominate his instincts 
and remain master of his temperament; he will be no soft 
weakling, but energetic, and the demon of love might as 
well leave him alone (Fig. CCXXXIV). 

Under these circumstances, the girdle of Venus indi¬ 



cates a new organic force placed at the service of an idea. 
It only augments intelligence, powers of comprehension 
and nervous sensitiveness. It is a presage of good luck 
and a sign of vitality and energy. 

When the girdle of Venus is also a single well-shaped 
and clearly defined ring, in a hand less well balanced, it 
naturally indicates a resistance less strong to the instincts 
and temperament, in which case we notice great super¬ 
excitation, excessive nervous sensitiveness, a sensitive 
nature, a tendency toward melancholia, prostration, de¬ 
spondency and, quite often, a hysterical and spiritistic 
trend. 









268 WHAT YOUR HAND REVEALS 


When the girdle of Venus is doubled or tripled, often 
poorly outlined and nearly always broken, it is a 
sign of a quest for strange pleasures, for solitary tastes 
and sensations. It denotes a leaning toward every form 
of obscene debauchery, and, when the lines are very deep, 
a very energetic attraction toward all varieties of impure 
pleasure (Fig. CCXXXV). 

One often meets with this stigma in the hands of idle 
and lecherous women, with soft, perspiring hands. 

According to Desbarolles, those people, women in par¬ 



ticular, who possess the girdle of Venus, a rayed mount of 
Venus and a large head-line—indication of self-control—• 
may by casting off sensual emanations or effluvia, awake 
violent voluptuous attraction in the persons whom they 
wish to seduce. Such women are very dangerous. 

It goes without saying that will power and reason may 
always combat the tendencies aroused by the girdle of 
Venus; but the sensual appetite being continually present, 
one must always be wide awake and prepared for the 
struggle. 

A well-traced girdle of Venus, in one or more branches, 
















THE GIRDLE OF VENUS 


269 


energetically cutting either the line of fate or that of the 
Sun, denotes an attack on one’s fortune by friends, or 
rather, by mistresses or lovers, according to sex (Fig. 
CCXXXVI). 

When the girdle of Venus closes at the root of the 
Mercurial finger, it is a sign of a terrible passion which 
will shrink from nothing in order to satisfy itself, neither 
cunning, falsehood or even theft (Fig. CCXXXVII). 

When the girdle of Venus, instead of closing between 
the annular and the auricular fingers, loses itself on the 



-CCXXXDC 


CCXfc 


mount of Mercury and remains open, it denotes love of 
work and of science, which take up the fight against the 
instincts of lasciviousness and lewdness, and consequently 
augment the qualities of the individual in question if they 
be well directed (Fig CCXXXVIII). 

When the girdle of Venus ends in a star, it denotes a 
prison or a crime of passion (Fig. CCXXXIX). 

When a star on the girdle of Venus is placed beneath 
the medial finger, cutting the girdle in half, it denotes a 
sickness in which Venus plays a part (Fig. CCXL). 











270 WHAT YOUR HAND REVEALS 


§ ii. The Via Lasciva or Line of Lasciviousness 

The Via Lasciva , line of lasciviousness or Milky Way, 
is the sister line of the line of intuition. It is made up 
of small parallel lines which follow the last-named line 
in part or throughout, but in the majority of cases the 
lower part of the line, on the mount of the Moon (Fig. 
CCXLI). 

When it is found on both hands, it is a sign of an 



CCXLI 


effeminate character, a lascivious love, a disordered im¬ 
agination, influenced by the senses, and depraved by lu¬ 
bricity and lewdness; yet in nearly every case all this 
amorous ardor resides in the imagination! 

When it rises to the mount of Mercury, it foretells a 
life full of constant happiness; it is no doubt for this 
reason that it is so rarely met with. 

Since the Via Lasciva or line of lasciviousness is the 
sister line of the line of intuition, it serves, above all, to 
reinforce the qualities of the latter or augment its defects. 







CHAPTER XVI 


§ i. The Quadrangle 

The quadrangle or table of the hand, is that portion of 
the hand comprised between the line of the heart and the 
line of the head. 

When these two lines are in their proper places and dis¬ 



tinctly traced along their entire length, the quadrangle is 
regular, wide, large and graceful, indicating a good con¬ 
stitution, a loyal and kindly character, generosity, reflec¬ 
tion, and clarity of judgment (Fig. CCXLII). 

When the quadrangle is missing in one hand, it is a 
fateful sign indicating malignancy or misfortune. 

When the lines of the heart and the head are too close 
together, the quadrangle is both narrow and irregular, 
and denotes a person who is timid, irresolute, shallow- 


271 










272 WHAT YOUR HAND REVEALS 

brained, lacking decision, spirit and spontaneity (Fig. 
CCXLIII). 


When the head-line mounts too near the heart-line, we 
have a person who, at bottom, might be kind and generous, 
since he has impulses which come from the heart; but one 
who will always be timid, paltry and awkward in his 
demonstrations; and even though he may wish to show 
himself great and generous, he will not do so at the oppor¬ 
tune time, owing to lack of decision and spontaneity. His 
actions will always be narrow and petty. 



CCXLIV 


The heart-line which descends too near the head-line 
denotes a person small and mean in character because of 
egotism, reason, interest and calculation. 

This lack of spontaneity, these indecisions and hesita¬ 
tions at the moment when action is called for, are the 
cause of frequent mortifications, and will bring forth 
numerous small lines within this narrow quadrangle, 
which, as they furrow it, will form a cross of larger or 
smaller size and more or less sharply defined, which will 
be real and expressive signs of the intellectual embarrass- 






THE GREAT TRIANGLE 273 

ment and feebleness of judgment with which the owner is 
afflicted. 

A well-shaped cross in the quadrangle and, particularly, 
beneath the medial finger, is the “Mystic Cross,” which 
indicates tendencies toward mysticism and superstition. 
This sign is one which never deceives (Fig. CCXLIV). 

A cross poorly shaped and badly colored is a bad omen; 
it may indicate great excitement. 

A cross well placed within the quadrangle, situated 
near the mount of Mars, and tending toward the mount 
of the Moon signifies: wanderings which may lead to 
fortune (tradition). 

A well-colored star, in the quadrangle, is a sign of a 
good, true man, who may become the plaything of the 
woman whom he loves, by whom his own natural good 
disposition may be perverted. Nevertheless, this man, 
if he should lose his fortune, would be apt to regain it 
through his own efforts (tradition). 

§ii. The Great Triangle 

The great triangle in the hand is formed by the junction 
of the line of the head and the line of life with the Mer¬ 
curian line or line of intuition. 

When the Mercurian line is missing, the great triangle 
may be formed by a good Sun-line; this will make it 
narrower, yet it will be none the less favorable. 

When the great triangle is well-shaped, regular, large 
and spacious, it denotes that health, represented by the line 
of life; intelligence and reasoning power by the line of 
the head; and, finally, cerebral strength and intuition by 
the Mercurian line of the line of the Sun, are properly 
balanced and in perfect accordance; hence it is a fortunate 
sign of health, intelligence, activity of mind, a power of 


274 WHAT YOUR HAND REVEALS 

thought and reason which indicates great aims, audacity 
and a noble and generous character (Fig. CCXLV and 
CCXLVI). 

When the great triangle is ill-shaped, when the lines 
composing it are irregular, badly placed or badly traced, 
it naturally implies a poorly balanced character or one ill 
equipped to direct himself or others. 

Owing to this fact the general conduct of his life will 
be marked by numerous entanglements which will be 
set down in the great triangle by the appearance of 



rays and small lines which will tangle and form crosses, 
grilles and squares, thus witnessing to the difficulties 
which he has already encountered and the obstacles with 
which he will still have to struggle. 

When the great triangle is narrow, it is an indication 
of pettiness, of fear, of meanness, of avarice and of 
tenacity. 

When a great triangle shows clearly in a hand which 
has been without one, or in which it had only appeared 
in outline, or indistinctly, it announces better health, 
quicker intelligence, and greater logic, and this because 















THE SMALL TRIANGLE 


275 


of the very simple reason that this accentuation of the 
lines, and this more distinct formation of the great tri¬ 
angle can develop only when the lines which form it 
perfect themselves. 

A cross in the middle of the great triangle denotes: ill 
will, the instinct to quarrel, and a quarrelsome and pug¬ 
nacious man (Fig. CCXLVII). 

A circular figure (an attribute of the mount of the 
Moon) when found in the great triangle is a sign of a 
capricious, brutal and quarrelsome person. 


§ iii. The Small Triangle 


The small triangle is the space formed by the junction 
of the line of intuition, the Mercurian line, or the hepatic 
line with the lines of the head and of fate. 



C CXI VXD 


When it is well-shaped, it indicates lucky chance, an in¬ 
commensurate love for Nature, and an excessive necessity 
of knowing, divining and penetrating her secrets. It also 
denotes great intellectual powers, taste, and aptitude for 
study and for brain-work. 

Parents who notice this little triangle in their children's 





276 WHAT YOUR HAND REVEALS 

hands may, without hesitation, direct their attention to 
study and to the liberal professions, since they will have 
every opportunity of succeeding in them, and profiting 
thereby (Fig. CCXLVIII). 

One will always find this small triangle in the hands 
of intelligent and educated persons, such as have studied 
excellently well, or would have been capable of so doing 
had they had an opportunity. 

Archeologists who burrow in ruined cities, who are in¬ 
terested in medieval and antique art treasures, collectors 
—especially when they wear the signature of Saturn—who 
take pleasure in gathering old bric-a-brac, tapestries and 
engravings, the chests and furniture of olden days, and do 
so, not because they are artistic snobs or for the mere 
pleasure of increasing their collections, but as a matter 
of taste and as experts, these learned men, amateurs and 
collectors, who love the art of our ancestors, all have in 
their hands that celebrated small triangle which directs 
and inspires their researches. 


CHAPTER XVII 


ACCIDENTAL SIGNS 
§ i. Stars 

By this time we are acquainted with all the accidental 
signs, but we will summarily recapitulate, and name the 
principal ones among them, in order to facilitate their 
special study (Fig. CCXLIX). 

The star foretells some fortunate or unfortunate oc¬ 
currence whose effects may be contested by reason and the 
will. 

1. A star on the mount of Jupiter, beneath the index 
finger, is always a favorable sign. It denotes one pre¬ 
destined to great things, an unexpected elevation, fortune 
gained by marriage and gratified ambition. 

2. A star on the mount of Saturn, beneath the medial 
finger, is always threatening. It announces paralysis, in¬ 
curable disease, a disastrous death, or an assassination. 
Criminals who mount the gallows nearly all show this 
stigma. 

3. A star on the mount of the Sun, beneath the annular 
finger, is a presage of wealth or a fortune, which will 
make its possessor happy, and very often a sign of great 
danger from fire-arms. The line of life will tell whether 
death will result. 

4. A star on the mount of Mercury, beneath the little 
finger, especially in the hand of an unscrupulous person, 
denotes rascality, theft and dishonor. 


277 


278 


WHAT YOUR HAND REVEALS 


5. A star on the mount of Mars foretells a serious in¬ 
jury by some fire-arm or death in war. 

6. A star on the mount of the Moon is an indication 

as 



of a malady in which water plays a part, of danger or 
death on the water, in a shipwreck or under any other 
conditions. 











ACCIDENTAL SIGNS 


279 


7. A star on the mount of Venus, at the beginning of 
the line of life is the sign of a person fortunate accord¬ 
ing to their position and station in life. 

8. A star quite at the foot of the mount of Venus fore¬ 
tells a misfortune in love, and, in most cases, mortifica¬ 
tions in marriage; notwithstanding, according to Belot, 
when only a single star is found on the mount of Venus it 
may indicate a person who is happy in love. 

9. A star on the mount of Venus united to another 
star on the line of the head, indicates law-suits, separa¬ 
tions or divorce. 

10. One or more stars on the mount of Venus denote 
the death of relatives or of persons dear to one. 

11. A large star in the plain of Mars (palm of the 
hand), connected with a line leaving the mount of Venus, 
indicates the exact epoch when a catastrophe will take 
place in one's existence. 

12. A well-colored star in the quadrangle (between the 
heart-line and the head-line) denotes a good man, who 
may become the tool of the woman whom he will love, 
and by whom his good natural instincts will be perverted. 
Nevertheless, if this man should lose his fortune, he will 
be able to regain it by his own merit (tradition). This 
star, in a good hand, also presages exceptional honors. 

13. A star or a cross at the beginning of the line of life 
announces a love-child or a misfortune at birth. 

14. A star which ends the line of life near the bracelet, 
denotes wealth in old age. 

15. A star on the head-line itself announces madness 
or a dangerous wound on the head, and also violent 
nervous pains. 

16. A star terminating the line of the head means a 
wound of the head or madness. 

17. A star on the length of the line of direction or of 


280 WHAT YOUR HAND REVEALS 


fate always is a sign of misfortune, either past or to come. 

18. A star at the foot of the line of direction indicates a 
loss of fortune sustained by the parents of the wearer 
during his youth. 

19. A star or a group of small lines in disorder on the 
line of the Sun announces a catastrophe when the line 



comes to an abrupt stop, and is an indication of some un¬ 
lucky happening followed by a lucky one and by a success, 
when the line continues. 

20. A star which terminates the girdle of Venus de¬ 
notes a crime of passion, a prison. 

21. A star cutting the girdle of Venus in half, below the 





ACCIDENTAL SIGNS 281 

medial finger, denotes a disease in which Venus plays 
a part. 

22. A star or a cross in the bracelet itself denotes an 
inheritance or an advantage to accrue in the future. 

23. A star on the end of the thumb denotes gallantry to 
the point of debauch. 

24. A star on the back of the thumb, near the nail, 
denotes lewdness. 

25. A star on the end of the fingers indicates danger. 

26. A star laterally located, at the foot of the second 
phalanx of the thumb and below the line of flexion which 
separates this phalanx from the mount of Venus, an¬ 
nounces misfortunes caused by women and often denotes 
misfortune in marriage. 

27. A star on the first phalanx of the index finger 
and of the auricular finger, is an indication of eloquence. 

28. A star on the first phalanx of the medial finger an¬ 
nounces events beyond the previsions of humanity, or a 
Napoleonic glory or madness when the organism is not 
in accordance with the importance of its destiny. 

29. A star on the line of a child foretells its death, and, 
if there be a dot on the star, the death will be due to some 
fatality or accident (Fig. CCL). 

30. A star on the line of marriage or union is a sign 
of widowhood. 

31. A star on the line of travel or voyage, or a star with 
a hole in the middle are signs which denote perilous voy¬ 
ages cursed with fatality: submersion, shipwreck at 
sea, etc. 

§ ii. Crosses 

The cross has a different meaning according to the 
place in which it is found. It is never a sign of great 
fatalities, but for the most part announces changes of 


282 WHAT YOUR HAND REVEALS 


position, and is never truly evil save on the mount of 
Mercury. Besides, whenever a cross is well-shaped and 



the arms which compose it are of equal size, it is rather 
favorable than otherwise, and adds to the qualities of the 
mounts on which it is found; but when the cross is ill- 










ACCIDENTAL SIGNS 


283 

shaped and poorly formed, it is not so good an augury, 
and may even at times be a bad omen (Fig. CCLI). 

1. A cross astride the root of the index finger denotes 
happiness. 

2. A well-marked cross on the mount of Jupiter, be¬ 
neath the index finger, is the so-called “cross of marriage” 
or of inclination; it is an excellent presage and indicates 
a happy marriage, for both of the persons who unite in 
wedlock. There may be several marriage crosses on the 
mount of Jupiter, just as several lines of union may 
exist at the percussion. This cross is almost always met 
with in the hands of persons united or married; yet it 
sometimes happens that, of the two, only one really loves. 
When the line of direction or the line of the Sun starts 
from the mount of the Moon, which represents caprice, 
passion and elevation by protection, you may say without 
fear of being mistaken to the person in whose hand you 
read this sign: “You married because of inclination and 
for love.” 

When the cross of marriage or of inclination is badly 
shaped, it denotes that a marriage on the point of taking 
place has not been concluded, and if an accessory bar 
traverses the cross at its lower end, it signifies that great 
hindrances will be placed in the way of marriage. 

3. The cross of inclination united by a line to a star on 
the mount of Jupiter is always an indication of a marriage 
or of a union with a person far above the position one 
occupies in rank. 

4. A cross on the mount of Saturn denotes gloomy 
mysticism, or an agitated and sometimes adventurous 
life. 

5. A cross on the mount of the Sun denotes glory de¬ 
stroyed or attacked, lack of success in the arts, and in 
fortune, and in many cases a disease of the eyes. 


284 WHAT YOUR HAND REVEALS 

6. A cross on the mount of Mercury indicates strong 
leanings toward kleptomania and theft. 

7. A cross between the mount of Mars and the mount 
of the Moon announces a change of situation. 

8. A cross on the mount of the Moon indicates a danger 
threatening on the water, but especially exaltation, and a 
disposition to exaggerate in words and ideas. 

9. A cross on the mount of Venus presages a unique 
and fatal love, unless some other cross can be found on 
the mount of Jupiter, which, by its happy influence, turns 
it into a unique and happy love. 

10. A cross in the middle of the great triangle in the 
plain of Mars indicates a dangerous character, a quarrel¬ 
some and pugnacious man, capable of anything. 

11. A cross in the quadrangle, beneath the medial 
finger, is what is known as “The Mystic Cross”; it de¬ 
notes an attraction toward mysterious things, super¬ 
natural ideals, it announces tendencies toward super¬ 
stition, toward the marvelous, and veneration for 
mysticism and for things religious. If the line of direc¬ 
tion or of fate is joined to it, it denotes happiness through 
religion. 

12. A poorly shaped and badly colored cross in the 
quandrangle is an evil omen. It may indicate great ex¬ 
altation. 

13. A well-marked cross set in the quadrangle situated 
near the mount of Mars and turning toward the mount of 
the Moon, signifies wanderings which may lead to for¬ 
tune (tradition). 

14. Several small distinct crosses in the quadrangle 
announce the happy influence of one or more friends. 

15. A cross at the beginning of the line of life denotes 
fatality at birth, a love-child. 

16. A cross at the beginning of the line of life, and on 


ACCIDENTAL SIGNS 285 

that line, denotes accident in infancy, as, for example, an 
arm broken at the age of three years. 

18. A cross terminating the line of life presages a 
happy end and wealth in one’s old age. 

19. A cross in the middle of the line of life denotes 
cerebral fever, and in general all maladies of the brain, 
mortal wounds and early death. When several lines 
appear on the line of life in the form of a cross, they 
announce injuries to the head, whose danger is in pro¬ 
portion to the accentuation of the lines. 

20. A small cross, at the extremity of the head-line, 
whether above or below it, announces a happy end and 
a favorable fortune. 

21. A cross on the heart-line denotes sickness or acci¬ 
dent. 

22. A cross on the line of direction or of fate indicates 
an obstacle, a change of position, or a new situation. 

23. A cross cutting the line of the Sun denotes a stop 
in one’s ascent and in one’s prosperity. 

24. A cross on the line of intuition indicates a malady. 

25. A cross in the quadrangle, beneath the mount of 
Jupiter, denotes disbelief, doubt and scepticism. 

26. A cross on the mount of Mercury, near the line 
of the Sun, announces aptitudes for scientific study and 
for the occult sciences. 

27. A cross beneath the mount of the Sun, above the 
heart-line, is a sign of religious tendencies, but without 
mysticism, true religion. 

28. One or more crosses on the wrist announce in¬ 
heritances or an unexpected fortune. 

29. A cross on the third phalanx of the index finger 
denotes lewdness. 

30. A cross on the second phalanx of the index finger 
denotes influential patrons. 


286 WHAT YOUR HAND REVEALS 

31. A cross on the third phalanx of the annular finger 
denotes chastity. 

32. A cross on the first phalanx of the auricular finger 
denotes theft. 

33. A well-marked cross on a line of union, whether 
in the middle or at one of its extremities, denotes widow¬ 
hood. 

§ iii. Dots or Points and Holes 

Deeply marked dots, hollow, red, blackish or bluish, 
as well as holes, are always signs of bad luck. 

1. On the line of life: A dot on the line of life denotes 
an illness and often a wound. 

Numerous dots denote a number of illnesses, without 
danger of death. 

2. A deep blackish or bluish dot or hole, denotes an 
accident or wound which might have or may endanger 
life. 

3. A blue black dot or hole often foretells an 
accident or a wound which might be susceptible of at¬ 
tacking the brain; ordinarily, to correspond with this 
spot, a similar black spot will be found on the line of 
the head or on the heart-line. 

The dots or holes which appear to be driven in, or 
resemble pits, always have a sudden bad effect. 

4. On the line of the head: A red dot announces in¬ 
juries to the head. 

A black or bluish dot is a sign of a nervous fever or 
of typhoid, or of severe headache, of excessive pains in 
the head at the time and during the time represented by 
the sign on the line of the head. 

A hollow, seemingly stamped in the skin, is a sign of 
violent neuralgia, and, beneath the mount of Saturn, de¬ 
notes blows and wounds of the leg. 


ACCIDENTAL SIGNS 287 

White dots, according to tradition, announce a scien¬ 
tific discovery. 

5. On the line of the heart: A dot always predicts 
some heart-sorrow, whether due to love or family affec¬ 
tion. 

6. A dot beneath the mount of the Sun denotes a 
chagrin, an annoyance caused by some distinguished 
personage or by an artist. 

A red dot reveals chagrins in love and marriage, physi¬ 
cal or moral wounds inflicted on the heart. 

A hole resembling a recent scar, and bordered with 
red, with a kind of inflation of its border, is a sign of 
apoplexy. 

7. On the line of direction or of fate: a white dot 
presages a failing of one's good luck. 

A red dot is a sign of a wound. 

8. On the line of intuition: one or more white dots 
reveal weakening of the intellect, and red dots presage 
violent troubles of the imagination. 

9. On the mount of Jupiter: one or more dots denote 
fallen pride, and a position hanging in the balance, lost 
or to be lost. 

10. In the mount of Saturn: one or more dots an¬ 
nounce some fatality. 

11. On the mount of the Sun: one or more dots are 
an indication of lack of success in the arts, of glory lost 
or attacked and, sometimes, of disease of the eyes. 

12. On the mount of Mercury: one or more dots an¬ 
nounce undertakings which have failed. 

13. On the mount of Venus: one or more dots indicate 
maladies, wounds or accidents. 

Besides, the dots and holes on the mounts have the 
same meaning as upon the lines, in accordance with their 
diverse specialties. The same applies to the dots and 


288 WHAT YOUR HAND REVEALS 

holes on the fingers, which have the same meaning as 
they have on the mounts. 

14. On the nails: White spots reveal a nervous, im¬ 
pressionable person, subject to neuralgia. Black or 
colored dots are in evil augury. 

15. On the lines of children: a hole announces the 
death of a child; and a dot on a star presages the child’s 
death by accident (Fig. CCLII). 

16. On the lines of union: a black dot or a blackish 
spot is a sure sign of widowhood. 

17. On the lines of voyages: a hole or a star on the 
line of voyage is always a presage of some unlucky 
event, of a perilous voyage cursed with fatalities, sub¬ 
mersion, shipwreck at sea, etc. 

§ iv. Islands 

The islands, according to the place which they occupy 
in the hand, are a sign of maladies, adultery and som¬ 
nambulism. 

An island denotes on 

1. The line of the heart: heart-disease. 

2. The line of the head: affections of the head, cerebral 
maladies and, according to tradition, evil thoughts, in¬ 
famous, sanguinary projects, and assassination. 

3. On the hepatic line: liver trouble, and, according 
to tradition: bankruptcy, theft, duplicity. 

4. On the line of life: when the island if there found 
in the case of a woman at the time of the change of 
life, it denotes indisposition, and an illness which is not 
serious, if the line of life continues throughout the period 
indicated by the length of the island. 

5. When the island is situated beneath the preceding 
line, stomach trouble is indicated. Tradition says that 
it also means a mystery in one’s birth. 


ACCIDENTAL SIGNS 


289 

6. The line of the Sun: adultery corresponding to a 
favorable change of position when the island is well¬ 
shaped. 

7 * At the foot of the mount of the Sun: when con¬ 
nected with the line of the Sun it denotes an adultery 
leading to the realization of one’s ambitions and desires. 




8. The line of direction or fate: adultery, lasting as 
long as the length of the island. 

9. On the mount of the Moon, at the beginning of the 
lines of intuition and direction, it means: inspiration, 
clairvoyance, somnambulism, natural and conscious, and 
prophetic dreams. 












WHAT YOUR HAND REVEALS 


290 

10. An island beneath the mount of Mercury, on the 
line of union, and, still better, if there be another island 
in the second joint of the thumb on the mount of Venus 
is always an indication of marriage with a near relative 
(Fig. CCLIII). 


§v. Triangles 

The triangles on the mounts, as in the hand, announce 
the aptitudes, capacities and talents which should lead 
to prosperity, in the matter denoted by the place in 
which they are found. 

A triangle on: 

1. The mount of Jupiter: diplomatic science, along 
grandiose Napoleonic lines. 

2. The mount of Saturn: occult sciences, fear of hell, 
black magic. Aptitude for the black art. 

3. The mount of the Sun: science in the arts, in the 
style of Leonardo da Vinci and Michelangelo. Artistic 
education. 

4. The mount of Mercury: shrewd diplomacy, skilful 
political activity after the manner of Talleyrand. 

5. The mount of Mars: science in the art of war, skil¬ 
ful calculation in war in the style of Turenne. 

6. The plain of Mars: military glory. 

7. The mount of the Moon: maritime science. Reason. 
Wisdom in Paracelsian mysticism. Intuition. Good 
sense. 

8. The mount of Venus: calculation in love. Nearly 
all women who make their fortune through love have 
this triangle on the mount of Venus. 

9. One of the bracelets: a rich marriage despite pov¬ 
erty. 

10. The first phalanx of the medial finger: debauchery. 


ACCIDENTAL SIGNS 


291 

11. The line of the head ending in a triangle: inspira¬ 
tion, aptitude for the arts of divination. 

12. The line of life ending in a triangle: loquacity. 

§vi. Grilles 

The grilles are, under every head, the most unfavor¬ 
able signs of all; they represent the obstacles, they supply 
the agitations and the defects of the mounts on which 
they are situated. 

A grille on: 

1. The mount of Jupiter: the fettering of the qualities 
and lucky chances inspired by this mount, egotism lean¬ 
ing toward superstition, desire to shine, pride and domi¬ 
nation. 

2. The mount of Saturn: mistrust, misfortune or 
prison. 

3. The mount of the Sun: impotence or prevention 
of artistic aspirations; errors, loquacity, madness, vanity 
and even a desire for false glory. 

4. The mount of Mercury: bad use of scientific knowl¬ 
edge, a leaning toward theft, cunning or falsehood* 

5. The mount of Mars: violent death. 

6. The mount of the Moon: sadness, inquietude, con¬ 
tinual discontent, nervous spasms, excitation, exaltation, 
an imagination always seeing the gloomy side of things. 
Nevertheless, with a good line of the Sun, a disposition 
for poetry, lyricism and literature will be indicated. 

7. The mount of Venus: lasciviousness, obscene loves. 


EPILOGUE 


“Happy is he who has been able to penetrate the secret causes 
of things.”— Virgil. 

Kind readers, together we have just passed in review 
the topography of the hand, we have followed its con¬ 
tours, traced the network of its lines, large and small; 
we have stopped at the accidental signs scattered every¬ 
where about, and which appear in the guise of signposts 
or disk-signals to point out the road, and apprise us of 
the fortunate or unfortunate events in store for us. 

By now you have learned something of that science of 
chirology which, hitherto, has seemed such a thing of 
mystery to you, and that because you thought it the ex¬ 
clusive possession of certain privileged persons, who, 
assuming airs of inspiration, claimed gifts of divination 
to which you yourself are every bit as much entitled. 
These persons are in chirology what the charlatans and 
the quacks are in medicine. 

However, as you have been able to convince yourselves, 
this science which is so undeniably useful to all of us, 
has nothing occult, nothing mysterious about it. It is 
accessible to everyone. 

Learn, my dear readers, to read the hand, this open 
book of life! You will become better acquainted with 
yourself, you will find it easy to unmask others; you will 
be able to direct your children the more surely, in ac¬ 
cordance with their aptitudes, along the way which they 
should take and—you will be able to penetrate the secrets 
of fate! 


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